Examines the meanings of the marvelous in the context of the Afro-Brazilian ritual called the Reinado de Nossa Senhora do Rosário, according to the way it is applied in the song lyrics and in participants’ verbal discourses. Analyses were based on participants’ perspectives about the origin and history of their religious tradition, which is based on their enslaved ancestors’ experiences of pain. Those facts and events still highlight the sense of belonging to this tradition nowadays and make their performative acts meaningful, significant, and thus wonderful., unedited non–English abstract received by RILM] Os significados da ‘maravilha’ no contexto do Reinado de Nossa Senhora do Rosário, tal como o termo é utilizado nos cantos e nas elaborações discursivas dos congadeiros, são aqui abordados a partir da perspectiva desses participantes sobre a origem e o percurso histórico de sua tradição religiosa, calcada na experiencia da dor de seus ancestrais escravizados. Tais fatos e eventos ainda motivam o pertencimento a essa tradição no presente e preenchem de sentido, de significância e, consequentemente, de maravilha as ações performáticas atuais.
Dwayne is a Grade 6 student who came to Canada from Jamaica at the age of seven. Upon arrival in a new school Dwayne had to adapt to a new culture. In addition, Dwayne was identified as having severe behavioral problems and learning difficulties, and it was recommended within the first month of school that the boy be medicated in order for him to cope. His mother refused. Through interviewing Dwayne's mother and his teacher, a case study details Dwayne's experiences of schooling. The story of Dwayne illustrates how experiences of disablement are interrelated with experiences of migration and racialization.
Compares memoirs by Maya Angelou, Barack Obama, and Caryl Phillips. The Caribbean-born Afro-Britain Caryl Phillips published The Atlantic Sound (2000), an account of African diasporic identity that moved between understanding, compassion, and a harsh belief that Africa cannot take on the role of a psychologist's couch, that "Africa cannot cure." These three memoirs offer insight into the complex and highly contested nature of identity throughout the African diaspora, and present very personalized reflections on the geography, politics, and history of Africa as a source of identity and diasporic belonging.
Examines the extent to which publicly-listed Caribbean companies provide social and environmental disclosures, and the factors related to their disclosure practices. It is motivated by the dearth of studies of social and environmental disclosures among publicly listed Caribbean firms.
Examines three ‘cosmopolitan’ traditions in the Caribbean. While the first tradition derives from the universalist intellectual tradition of the European Enlightenment, the other two are linked to vernacular, local Caribbean traditions.
Tambú represents a ritual from Curaçao, largest of the Netherlands Antilles, employed by the island’s African peoples as a religio-spiritual vehicle. In Dutch mainland cities, however, the Tambú has developed into a type of party music, with Curaçaoan immigrants joining other African and Afro-Caribbean immigrants to explore and express complex collective identities. These reinvented tambú parties constitute new sites of cultural reproduction as well as contestation, of solidarity as well as difference, providing the rare occasion to observe diasporic belonging among Afro-Caribbean communities in the Netherlands. These contemporary tambú parties provide a needed space to negotiate competing and overlapping identities, enabling both a specific Antillean identity as well as a more inclusive diasporic identity.
The combination of rice and beans was introduced in the nineteenth century by Afro-Caribbean migrant railroad workers. Notwithstanding elite self-perception of Costa Rica as a white, European nation, economic necessity during the Great Depression helped gallo pinto gain middle class acceptance. This case illustrates both the importance of social and economic history in shaping cultural symbols and also the ways that lower-class foods can become central to national identities.
This essay is framed around interpretations of Haiti's long history in order to demonstrate that there is neither curse nor punishment in Haiti's history; there is only intrigue, interest, and interference. The natural disasters whether earthquakes or hurricanes do not occur because of some rational targeting of the country but are the results of the arbitrariness of nature.
This article uses a Latina/o critical theory perspective to examine thirty Afro-Caribbean youths' experiences with and perceptions of New York City police. Study findings highlight respondents' views that aggressive policing tactics are intended to restrict and criminalize Latino/a youths' use of public space.
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.
