An essay is presented which discusses the religious history and identity of the Caribbean Area and Africa from the Haitian Revolution through the 2010s, with a particular focus on Islam and voodooism. African and Caribbean identities, including the role that cosmopolitanism plays in identity formation, are discussed. An overview of the religious identity of the Muslim Haitian Revolution leader Dutty Boukman is provided.
This article examines how Aphra Behn employs the language of spectacle and extreme visuality in Oroonoko (1688) as a strategy for conveying exoticism to the reader's gaze. The novella presents the New World landscape, Native American customs, Oroonoko's black body, and his heroism and victimization with a degree of excessive and hyperbolic intensity. I argue that Behn's novella grasps, in a way no other work of its time does, the transformation of the black body into a commodity at the moment of its insertion into circuits of commercial exchange in the Atlantic basin. By focusing on the female narrator's vicarious response to the spectacle of Oroonoko's public execution, I also suggest that the novella formulates fundamental dilemmas intrinsic to scenes of sympathy, dilemmas that would continue to shape the English citizens' engagement with Caribbean slaves throughout the long eighteenth century.
The article discusses the history of Santo Domingo (which was renamed the Dominican Republic) under the French General Jean-Louis Ferrand from 1804 through 1809. Particular focus is given to Ferrand's efforts, under the direction of the French Emperor Napoleon I, to re-enslave Santo Domingo and overthrow Haiti's ruler Toussaint Louverture. An overview of the slavery laws in Santo Domingo is provided. Ferrand's use of black Haitian captives as slaves, including the Haitians captured by the French who lived near the border with Santo Domingo, is provided.
The conjure woman has long lived as a popular American cultural icon, so much so that it seemed destined that multimedia conglomerate the Walt Disney Company would eventually adopt and embrace her. The conjure woman's likeness is reflected in the Disney feature films Pirates of the Caribbean: Dead Man's Chest (2006) and Pirates of the Caribbean: At World's End (2007). This essay investigates just what happens to black women and spirit work when placed in the hands of Disney, a corporation with a sordid history of pirating in another context. The work is particularly invested in complicating black female body politics by addressing the additional stigma against female spiritual autonomy. How is an association with African spiritual cosmologies inscribed on the physicality of black women in popular culture? I focus my attention on Tia Dalma, the minor black female character engaged in Vodou in the Pirates of the Caribbean franchise, applying a close reading of the spiritual iconography and other cinematic coding surrounding her performance of African-based spirituality. I assess Disney's appropriation of black cultural forms in the construction of fantasy and fairytale.
Prior to the twenty-first century, nonfiction picture books in Britain rarely focused on the Black British community. As twenty-first-century Britain struggles to define itself, the education system is one way of institutionalizing and standardizing what it means to be British. By aligning with the National Curriculum standards, publishers of children's nonfiction have found ways to negotiate boundaries and re-envision meaning. Recent texts have used traditional models for British children's nonfiction to focus on areas of citizenship, identity, and history, but by redefining the boundaries between nation/outsider, self/other, and insider/outsider, have created new spaces for British identity and citizenship.
The article discusses the role that the visual arts and museums—through the way their framing and selection choices shape viewers’ perception—play in the construction and deconstruction of post/colonial Caribbean identities. The locus of the analysis is a multimedia installation titled White Skin, Black Kin: A Creole Conversation Piece, which was mounted at the Barbados Museum by Barbadian Canadian visual artist Joscelyn Gardner in 2004. The artist's aim in the installation was to expose the telling gaps, silences, and omissions in regard to black and white kinship and inter-racial relations in artistic productions of the colonial period. One such production was the sub-genre of portraiture known as the conversation piece, which was fashionable among an emerging middle class that included colonial landowners and merchants eager to use that visual medium to simultaneously document the wealth their colonial connections brought them and disavow their use and abuse of black bodies to create that wealth. In challenging the conventions of the conversation piece, Gardner recovers unspoken and suppressed stories from the colonial Caribbean past in order to re-present black and white Creole females identities; and in her use of the installation to ‘intervene’ into items displayed in permanent exhibits, she demonstrates how the Museum can become a site of active contestation of received knowledge.
Examines the voting behavior of Cubans and non-Cuban Hispanics in two Florida counties. The group position thesis holds that status inequalities and perceived discrimination yield out-group hostilities that can influence political behavior. In Miami, where Cubans are dominant, we expect non-Cuban Latinos to report greater pan-Latino competition and that anti-Cuban attitudes will influence non-Cuban Hispanic voting. In Tampa, where non-Cuban Latinos live in communities where Cubans are not dominant, we expect lower levels of perceived competition and Cuban-related attitudes to be inconsequential to the vote. The results confirm that power relations in the local arena constitute an important influence on the political behavior of Latino immigrants.
This article examines the political implications of the changing demographics of the Cuban American community. Over the past decade, pundits have predicted a massive shift in Cuban American voting behavior owing to demographic changes in the community. The authors find evidence that the attitudes of Cuban Americans have undergone significant changes, driven largely by the increased number of post-Mariel (1980) immigrants. The authors also find, however, that these dramatic changes have not yet been reflected at the ballot box, nor are they likely to be soon, owing to the slow process of immigrant political incorporation.
