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Half-Caste" is a poem by Guyanese poet John Agard that looks at people's ideas and usage of the term "half-caste", a derogatory term for people of multiracial descent. The poem is included within Agard's 2005 collection of the same name, in which he explores a range of issues affecting black and mixed-race identity in the UK. The poem is ...
An 1870 illustration by David Bonwick titled Last of the Tasmanians Woodcut 12 - with the description -- Walter George Arthur with his half-caste wife Mary Anne. Half-caste is a term used for individuals of multiracial descent. [1] The word caste is borrowed from the Portuguese or Spanish word casta, meaning race.
His poems "Half Caste" and "Checking Out Me History" have been featured in the Edexcel and AQA English GCSE anthologies respectively, meaning that many students (aged 13–16) have studied his work for their GCSE English qualifications. [9]
Someone has suggested that 'half caste' and 'half-caste' articles be merged. I don't know of any examples where the absence or presence of the hyphen makes a difference to the way the term was/is used, or changes its context, so I think that they should be merged. Any thoughts? Brucehassan 14:50, 12 November 2005 (UTC)
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The 2004 AQA Anthology was a collection of poems and short texts. The anthology was split into several sections covering poems from other cultures, the poetry of Seamus Heaney, [4] Gillian Clarke, Carol Ann Duffy and Simon Armitage, and a bank of pre-1914 poems. There was also a section of prose pieces, which could have been studied in schools ...
Half-caste are people of mixed ethnicity. Half Caste may also refer to: Half Caste (horse), the winner of the 1859 Grand National Steeplechase "Half Caste" (poem), a poem by John Agard; Half-Caste, a 2004 horror film; Half-Caste Act 1886 (title in Victoria), or Aborigines Protection Act 1886 (title in Western Australia)
Each chapter in The Souls of Black Folk begins with a pair of epigraphs: text from a poem, usually by a European poet, and the musical score of a spiritual, which Du Bois describes in his foreword ("The Forethought") as "some echo of haunting melody from the only American music which welled up from black souls in the dark past". [1]