Attempts to understand what the presence of Black music means in the absence of Black people. Is this an expression of a global circulation of Afro-Caribbean cultural trends as symbols of belonging and difference among urban youngsters? Does it take us back to the history of Quintana Roo as a Caribbean region and the Black Atlantic? Is it a form of revision of Mexican national ethnic mixture and inclusion of other population groups? Adapted from the source document.
Explores dynamic changes in network size and composition by examining patterns of older adults' social network change over time, that is: types of movements; the reason for the loss of network members; and the relation of movement and composition in concert. This study is a 6-year follow up of changes in the social networks of U.S.-Born Caucasian, African-American, and Caribbean older adults.
Using theories of performance geography, the author considers how black music and dance, especially the slave ship dance Limbo, create an urban counter-culture that evokes historic transcultural experiences of the Middle Passage, space, and modernity. Social theories of scholars including Michel Foucault, Paul Gilroy, and Catherine Nash are considered. Other topics include cultural geography, the Maroons of Jamaica, and dance customs of Trinidad. Interrelationships between performances at the Dancehall in Kingston, Jamaica, Blues music, and South African Kwaito music are explored.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
245 p., This book discusses gangs and drug trafficking in Jamaica and the United States and their impacts on the countrys' social conditions. A product of the ghettos of Kingston as mercenary street-fighters for the island's politicians, these groups began migrating to the United States in the early 1980s. Feared and honored for being "harder than the rest," these Jamaican cocaine syndicates laid claim to their new American territory with outlaw bravura and a ruthlessness that was immortalized in song; the raw dance hall music born of their world defined "gangsta" culture for a generation of angry sufferers in Jamaica, America, and England.
The educational, occupational and income success of the racial minority immigrant offspring is very similar for many immigrant origins groups in the United States, Canada and Australia. Analysis reveals common patterns of high achievement for the Chinese and South Asian second generation, less for other Asian origins, and still less for those of Afro-Caribbean black origins.
Analyzes current urban governance policies and the spatial politics of resistance embraced by communities under siege in Brazil. Space matters not only in terms of defining one's access to the polis, but also as a deadly tool through which police killings, economic marginalization, and mass incarceration produce the very geographies (here referred to as 'the black necropolis') that the state aims to counteract in its war against the black urban poor.
Looks at a number of ethnic neighborhoods including Afro Caribbean and Dominican communities. The predominant post-1965 immigrant groups have established distinctive settlement areas in many American cities and suburbs
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
322 p, Jamaican Politics is about the left, from the perspective of the left. Combining theory with practical experience, Trevor Munroe records important aspects of Jamaica's political history and at the same time identifies and critically reassesses the assumptions, concepts, and preoccupations of leftist writing.
Develops a theoretical framework of biopolitical performance with which to approach the 1957 televised broadcast of Duke Ellington and Billy Strayhorn's A Drum Is a Woman. Presented on the drama anthology program The United States Steel Hour, this theater-music-dance suite fused elements of Afro-Caribbean rhythm with swing and bebop to tell a history of jazz, featuring acclaimed performers such as Carmen de Lavallade, Margaret Tynes, Joya Sherrill, and Talley Beatty. Argues that through their experimentation Ellington and Strayhorn created a hybrid performance in the mode of "calypso theater": a formal and thematic engagement with an Afro-Caribbean performance history.
