-, Interviews social psychologist and feminist Norma Guillard. She discusses her political, socio-cultural activism and academic research on Black lesbians in Cuba. Guillard cites feminists Margaret Randall, Alice Walker and Angela Davis as women who influenced her. Describes an important Cuban movement involving Afro-Cuban militants.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
209 p., Collects interviews with queer Caribbean writers, activists, and citizens and challenges the dominance of Euro-American theories in understanding global queerness.
Discusses the stories of six girls to illuminate three broad types of gender performances that were observed: ‘beauties’, ‘geeks’ and ‘men-john’. Using Francis' concepts of gender ‘monoglossia’ and ‘heteroglossia’, the extent to which these girls were able to resist the normative gender–sexual order and the consequences of conformity/non-conformity are examined.
Carlos Varela is one of the best-known singer-songwriters to emerge from the Cuban nueva trova movement: heir to the musical traditions forged by Silvio Rodríguez and Pablo Milanés. Parochially, if accurately, known in North America as “Cuba’s Bob Dylan,” he has produced eight CDs since he began recording in 1988 and has toured Europe, the United Kingdom, Latin America, the Caribbean, and North America. In Cuba he is known as the voice of the generation that came of age during the Special Period of the 1990s, those raised with the promise and seeming collapse of the Cuban Revolution, for whom his songs have become generational anthems. In this interview, Varela discusses the meaning his music has for Cubans in the diaspora and on the island, the benefits and liabilities of creating music in today’s Cuba, censorship, history, the current Cuban hip-hop scene, and the ongoing significance of music as a political language for his own and other generations of Cubans. He also shares some reflections about his own career and his song-writing process since the 1980s., unedited non–English abstract received by RILM] Carlos Varela es uno de los cantautores más famosos surgido del movimiento cubano de la nueva trova, y heredero de la tradición musical de Silvio Rodríguez y Pablo Milanés. Celebrado como el “Bob Dylan cubano”, ha producido ocho discos desde que comenzó a grabar en 1988, y ha dado giras por Europa, el Reino Unido, América Latina, el Caribe y América del Norte. En Cuba, Varela es conocido como la voz de la generación que se formó durante el Período Especial de los años noventa, los que crecieron con la promesa y, a la vez, la desilusión de la Revolución Cubana, y para quienes sus canciones se convirtieron en himnos generacionales. En esta entrevista, habla sobre el significado de sus canciones para los cubanos dentro y fuera de la isla, sobre los beneficios y las dificultades de la creación musical en la Cuba de hoy, sobre la censura, la historia, el escenario actual del hip-hop cubano, y el constante significado de la música como lenguaje político, tanto para su generación como para las otras generaciones de cubanos. También, Varela comparte algunas reflexiones sobre su carrera y el proceso de creación de sus canciones desde los años ochenta.
Interviews Justin Podur, associate professor at York University in Toronto, Ontario. When asked about the reason behind writing his book "Haiti's New Dictatorship" he refers to his work as an editor while the military coup happened, which gave him an insight into people's views. Podur believes that the current dictatorship has poor human rights records in Haiti then the Aristide's government. He comments on rescue operations during the earthquake in 2010.
The article focuses on Caribbean women who traveled to Great Britain after World War II to train as state-registered nurses and then migrated to Canada. The author provides brief biographical information about the interviewees featured in the paper, compares their recollections with the predominant images and ideas of Black women in Great Britain during that time, and discusses the women's reactions to nursing in Canada. She also explores the interviewees' revelations about their occupation, involvement in organisations that represented their interest, and the lessons they wish to pass on to future generations.
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.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
149 p., The story of four arts practitioners from Trinidad and Tobago —a lighting designer, a dancer, a jazz musician and a choreographer—who have made a name for themselves internationally. The work also centers on their role as educators in their fields.
Chapel Hill, NC: University of North Carolina Press
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
298 p., Showing how revolutionary and prerevolutionary values coexist in a potent and sometimes contradictory mix, Hamilton addresses changing patterns in heterosexual relations, competing views of masculinity and femininity, same-sex relationships and homophobia, AIDS, sexual violence, interracial relationships, and sexual tourism. Hamilton's examination of sexual experiences across generations and social groups demonstrates that sexual politics have been integral to the construction of a new revolutionary Cuban society.
