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Marlene L. Daut

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Articles

The Artist (Formerly) Known as Louis Rigaud | Marlene L. Daut

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By Marlene L. Daut
| Lapham's Quarterly Verified
In 1963, Yale University’s Peabody Museum accessioned seventeen nineteenth-century portraits of Haitian revolutionaries, heads of state, and military figures from the United States National Museum, an entity of the Smithsonian. That same year, Saul H. Riesenberg, a curator of ethnology at the U.S. National Museum, wrote to Cornelius Osgood, curator of anthropology at the Peabody, that he “had not been able to learn anything about the painter, L.
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On Not Staying Silent about Florida's Attempt to Silence Haitian History | Marlene L. Daut

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By Marlene L. Daut
| marlenedaut.com
By MARLENE L. DAUT May is Haitian Heritage Month, and to honor our culture, I usually like to keep it positive with celebrations of Haitian history. However, I saw something a few days ago that reminded me that at times keeping things positive and staying silent is actually not the best response, especially when it comes to those who insist upon demonizing Haitian history and culture.
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The Other King Henry: On the Many Afterlives of Haiti’s Misunderstood Henry Christophe

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By Marlene L. Daut
| Literary Hub Verified
From Marlene L. Daut's Cundill Prize-Shortlisted “The First and Last King of Haiti” On April 14, 1936, twenty-year-old Orson Welles directed his first major play. The production was an adaptation of William Shakespeare’s Macbeth with an all-Black cast. Debuting in Harlem’s storied Lafayette Theatre on Seventh Avenue at 132nd Street, the play sold out every one of its 1,223 seats.
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