Investigates the interface between gender, color/race and public health in Brazil, focusing on the importance of reproductive health for the formation of a black feminism in the country, between the years 1975 to 1993.
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 how a Caribbean thinker, Theophilus Scholes, used the figure of the "white Negro" to expose the linkages between ethnological preoccupation with black bodies and an imperial network of power that held implications for political equality.
