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).
Explores ethno-political identity in the English-speaking Caribbean & its Diasporas. Although being black was non-problematic in the early days of decolonization when most of the population was black, immigrants to European & North American cities where whites were the majority often suffered discrimination, a decline in social status, & a life filled with resentment. Following independence, ex-dentured East Indians, Chinese, Syrians, & light-skinned creoles in the Caribbean began to reassess their "blackness" & lighter skinned people were granted privileges not available to darker-skinned citizens. Meanwhile, black leaders who accepted the logic of capitalism ignored class critiques of capitalist structures of exploitation.
During the early 1970s the U.S. songwriter, musician, and producer Van Dyke Parks completed work on a series of albums exploring the musical contours of the circum-Caribbean region and, through them, broader patterns and issues in 20th-century relations between the U.S. and the Caribbean.
