African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
135 p., Examines Caribbean cultural identities along the lines of race, class, nationalism, and history. Contents include: Remembering Toussaint, rethinking postcolonial: the Haitian revolution and the writing of historical trauma in the Caribbean / Li-Chun Hsiao --
Unveiling the mask: race, nationhood, and caribeñidad in "La tierra y el cielo" / Sheree Henlon -- The music, the artist, and the aficionado: tracing the role of race and class in Caribbean popular music through literature / Kathleen Costello -- Negrismo and négritude in the reshaping of Caribbean cultural identity / Mamadou Badiane.
Reports on the researchers' findings 20 years after Lord Gifford's inquiry into race relations in the city after the 1980s Toxteth riots. Gifford reported on the prevalence of racial attitudes, racial abuse, and racial violence directed against the Black citizens of Liverpool. The authors' research focused on education and specifically the low percentage of Black teachers compared to the whole teaching workforce and the percentage Black population in the city.
Explores the way writers address the formation and fate of the contemporary American working class in an age of neoliberal globalization. Specifically, the essay examines Russell Banks's 1985 novel Continental Drift, which interweaves the stories of two characters who pull up stakes and head to Florida in search of a better life: an oil furnace repair man from New Hampshire and a young, single mother from Haiti.
Examines the women who became involved in Cuba's slave resistance movements of 1843 and 1844, drawing attention to those who molded that resistance in visible and public ways and those whose involvement has often been obscured or unnoticed. The narratives created around Fermina and Carlota Lucumf, two leading figures in the 1843 insurgencies, both rupture and complicate the masculine discourse around slave-movement leadership that has been central to historiographies of slave rebellion.
Reads Carnival-related performances in relationship to the colonial and national histories of the circulation of Indian and black women's bodies in Trinidad and Tobago, asking what is at stake in these occupations of genre, form, and performative presence in the latest global scenes of late capitalism (where image and sound, as cultural productions, are always in circulation beyond the scope of the nation, and their own "original" referents).
Personal reactions of women to the January 2010 earthquake in Haiti. Discusses the psychic trauma of living in the Haiti's displacement camps after the earthquake regarding poor access to water, violence against women and instances of forced eviction.
"The voice of Miss Lou, the honourable [Louise Bennett-Coverley], helped to shape the psyche of the resilient people in Jamaica. People are conscious of the diverse roots of our heritage, but mindful that the African presence was as valued as any other. And people must come to realise that the linguistic roots of that melding of cultures in Jamaica, our patwa, however we write it or spell it, is a worthy and necessary instrument of self expression". "She [Miss Lou] made me understand what it really means to be a Jamaican and how to appreciate and embrace all the various facets of our culture and heritage... No longer is it shameful to express the way we feel in the true Jamaican way... There that you cannot translate into english to give the same impact. Miss Lou made it OK not to nice it up".
-, Jamaica, in 2007, led the call for the UN to erect a permanent memorial, which UN Secretary General Ban Ki-moon said would acknowledge the struggles of the millions of Africans who, over more than three centuries, 'were violently removed from their homelands, ruthlessly abused and robbed of their dignity'. As was the case in 2007, Jamaica took centre stage on Day One of the 68th session of the UN General Assembly. The country's permanent representative to the UN and chair of the Permanent Memorial Committee, Ambassador Courtenay Rattray, was the one who announced the Ark of No Return', done by Roger Leon, as the winning design.
Spectacular and devastating were the two words being used in abundance last Saturday night, as fans described the fourth-round knockout victory scored by World Boxing Association (WBA) featherweight champion, Jamaica's Nicholas 'The Axeman' Walters, over Mexico's Alberto Garza at the American Bank Center, in Corpus Christi,Texas.
