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How I Learned African History from Reggae

Published online by Cambridge University Press:  13 August 2021

Extract

I was raised in Northern New Mexico, a white girl in a predominantly Hispanic population. The public education I received in this small Southwestern town was somewhat unusual, as it reflected the cultural diversity within at least our own community. So although I was subjected to the traditional Western canon, and plodded through Shakespeare, the American Revolution, and the diagramming of English sentences, the community made sure that I learned some Spanish and some aspects of Mexican culture as well. In elementary school I made skeletons from colored construction paper and paste to commemorate the Mexican Dia de los Muertes, or Day of the Dead.

Type
Research Article
Copyright
Copyright © African Studies Association 1996 

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Footnotes

*

Angela Marie Walters is a freelance writer and mother of one who resides in her home state of New Mexico. She is a part-time student at the University of New Mexico in Albuquerque and is primarily interested in multicultural issues and how they are affecting contemporary American society.

References

Notes

1. Papa Levi, “Mi God, Mi King,” Reggae Greats: Strictly for DJ’s, Mango/Island Records, 1985; Bob Marley, “Babylon System,” Bob Marley: Songs of Freedom, Island Records, 1992; Peter Tosh, “I Am That I Am,” Equal Rights, Columbia Records, 1977.