Satterfield, a chef and the author (he is the founder of Whetstone Magazine), accommodates the exploration of these four episodes about the history of African-American cuisine and how it forms American cuisine in a way that most Americans do not realize.
It is based on Jessica B’s books. Harris with the same name, and in the first five episodes, we see Satterfield and Dr. Harris in the weekend market in Benin’s West Tiny nation.
Why Benin? Because the port is where many people sold to be slavery from the area leave Africa forever:
On the way to the new world. And as Dr. Harris explained to Satterfield, they took many foods embedded in Benin culture and the surrounding countries to the slave ship.
Plants such as black peas, sweet potatoes (not sweet potatoes!), And Okra. For example, were taken because the slave traders. That knew they needed to feed the people. Which they forcefully started with the ships. Hansel Harris made the connections become Satterfield.
In Cotonou, Satterfield and Blogger Karelle Vignon-Vulliergy food, whose family of Benin, eat at a modern restaurant the chef takes traditional ingredients and turns it into a new dish.
Then Satterfield is increasingly on his way, both emotionally and gastronomy. In Abomey village, he walked on the road that people sold to slavery by hungry tribes from the area had to walk, in the chain, miles into the port city of Ouidah.
He then visited Lake Ganvie Village, where everyone lived and worked on the water.
The main religion is practiced there is the black magic voodoo. Then, coming back to the capital city of Porto Novo, he spoke with Romuald Hazoumè artist, who fed Satterfield, Dr. Harris, and Vignon-vullierme food made regularly during the era of the slave trade.
Finally, in Ouidah, Dr. Harris took Satterfield to a warning above the mass grave, where the enslaved people died before riding buried ships.
There, they both made a spiritual relationship with their ancestors, who were forced to come to the new world. Bring the food they knew with them. Even though they refused to eat on the ships as a means of control and protest.
That emotions and taste connections are high drives in pigs, directed by Roger Ross Williams. Through the direction of Williams and the cinematography series.
You get a real sense of what it is for Satterfield to explore every aspect of history. Especially of the African-American experience through its food. But Satterfield itself is the perfect ambassador to issue these stories and make connections for how African-American dishes have. In many ways, become American cuisine.
Satterfield is relaxed. But there is an intensity of a relaxed nature that cuts and makes you pay attention.
He spoke slowly and intentionally, whether he did the narrative written or talked real-time with someone on the camera, but he also really locked his eyes on whom he spoke and watched what the person said. Even the best of the best in this genre doesn’t always look like they do it.
Why is Satterfield so intense? Because of tracking the history of African American food – Heck, searching for American food history, period – is his life work. And see it revealed how comfortable and welcoming he felt in Benin. And saw the relationship he made for the resilience of enslaving people.
Who survived their journey across the Atlantic and survived. Even though there were unimaginable difficulties. They faced the original emotions he experienced through experience this.
Can Satterfield look instead no polished at times? Definitely; When he asked questions about the people he dinned or walked through the market with a lack of experience on the camera coming.
But when he had a real conversation with his friends, instead of written questions, his desire came. The passion is what we look forward to seeing in another three-hour series.
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The height in pigs is informative and makes the real emotional relationship. Between food and history behind it, and many thanks to the “relaxing intensity” Satterfield.