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.
Examines group consciousness among people of African descent in Miami-Dade County, Florida, and its possible impact on their political participation. Using an original survey of over one thousand respondents, the authors question whether African Americans and black ethnics (Africans, Afro-Caribbean Americans, Afro-Cuban Americans, and Haitians) possess a shared group consciousness and, if so, why. Second, does group consciousness or socioeconomic status most influence the political participation of our respondents? The authors find that these groups have a common consciousness because of their skin color, experiences with discrimination, common interests, similar ideological views, and leadership preferences.
