Analyzes how identity construction and ethnic representation processes take place in a folkloric festival framed by the multicultural policies of the Colombian state. Accounts for how institutions and base Afrocolombian communities use bullerengue—a local musical tradition that is now strong in the Uraba zone—as a tool in this construction process.
Explores the representation of older women in Afro-Caribbean Canadian literature, with a particular focus on depictions of mothering. Details on lesbian identity in Afro-Caribbean Canadian women's writings are also presented.
Between 1873 and 1917, the numbers of Barbadian women committed to penal custody on an annual basis surpassed those of men. Available figures for Jamaica and Trinidad over sections of the period hover around an 18–20 percent female proportion rate, while in Barbados the rate usually exceeded 50 percent.
Examines how Connecticut-born reggaetón artist Notch incorporates oratorical, visual, and musical cues in his music video, Qué te pica (What's itching you?), to establish connections between Latino and Caribbean communities in the U.S. These communities have typically been disavowed by hegemonic racial categories that distinguish between them. While Notch’s music disrupts these particular racial hierarchies, he also maintains hetero-normative patriarchal relations in his video. An analytic, Afro-Latino space is proposed to account for the ways that reggaetón as a musical genre, and Notch more specifically, unsettle certain distinctions between blackness and Latinidad, while simultaneously relying on stereotypes of black hypermasculinity.
