Caribbean Poetry in Papiamentu

Abstract

Caribbean Poetry in Papiamentu Igma van Putte-de Windt (bio) Translated by Monique S. Pool (bio) Literature, especially poetry, in the Creole language Papiamentu is important to the inhabitants of the three Caribbean islands, Aruba, Bonaire and Curaçao, which are part of the Kingdom of the Netherlands and populated by diverse peoples and cultures. Papiamentu in these Leeward Islands was not imposed by any external source but rather evolved as the indigenous language. Yet, although Papiamentu has been spoken in the Antilles from the very beginning of the slave trade, poetry was written in the languages of the European oppressors until the 20th century: most writing was done in Spanish, to a lesser degree in French and even more sparingly in Dutch, languages considered “civilized.” Papiamentu was relegated to the status of “a very poor language” and “damaging to the intellect of children,” words taken from a Dutch document from the last century. 1 The First Milestone: J.S. Corsen (Curaçao 1853–1911) At a very young age, our forefathers learned that Papiamentu was not a language but a dialect or a primitive language without any grammar. Indoctrinated as they were, those who knew how to write did so in “civilized” languages. The first to recognize Papiamentu as a literary language was J.S. Corsen, who has been called the father of Papiamentu literature, having published the first poem in Papiamentu, entitled “Atardi” [Evening] in La Cruz. 2 La Cruz was the daily which usually spoke up for Papiamentu and defended it as cultural language. “Atardi” describes the feeling of unease that affects us as evening darkness approaches threateningly. I can remember how this poem would be recited with much pathos at parties. “Atardi” was very well received, earning marvellous reviews, not in the least because it was written in Papiamentu. It could be said that the use of Papiamentu in this poem, especially at that time, was the onset of a verbal rebellion within literature. It is a pity that J.S. Corsen wrote only a few poems in Papiamentu; his preferred language of poetry was Spanish. In his Papiamentu poem “Ata nubia” [There Are the Clouds], he treats a theme that would inspire many later poets: our native land, not withstanding all its shortcomings, still instills pride in us all. In this poem, Corsen shows how time and again everyone expectantly watches the approaching clouds, hoping for rain, only to be disappointed when the clouds blow over. Second Milestone: The Simadán Generation of Poets Although Antilleans became aware at the beginning of this century that Papiamentu was a suitable language for poetic expression, it was not until 1950, the year in which the Papiamentu literary and cultural magazine Simadán was established, that we can speak of an actual [End Page 654] generation of Papiamentu poets, a generation that under the guidance of Pierre Lauffer composed in Papiamentu. Simadán offered a creative platform for the Antilleans to manifest themselves, to extol the possibility of expressing their feelings in Papiamentu. However, even the Simadán poets believed that “Papiamentu has without doubt not the same opulence as the other languages of our island.” 3 At the same time, the editors argued Papiamentu to be a language fit for poetry, a language “which unites Kòrsou and all its children.” The Simadán group (not the editorial board) consisted of Pierre Lauffer, Nicolás Piña, Raphael Martinez, René de Rooy, Luis Daal, Jules de Palm, Tip Marugg and Chal Corsen. Simadán was issued only twice and became defunct as a result of a controversy among the members of the editorial team, a controversy between those who adhered to the conservative lyrical movement (R. de Rooy and N. Piña) and those who were more interested in experimental, abstract poetry (T. Marugg and Chal Corsen). Pierre Lauffer (Curaçao 1920–1981), composer of lyrical, realistic and rhythmic poetry, published as early as 1944 Patria [Fatherland], a collection of poems completely written in Papiamentu. The title indicates its subjects: Curaçao, people, nature, feelings. Although not every poem in this book achieves the height of his later work, Patria had an enormous impact. It showed that...