The critical importance of the artist to the anti-slavery agency of the enslaved, is observable in one verse of a song by the enslaved in the USA: Got one mind for the boss to see;Got another mind for what i know is me. The Jamaican expression for this thought is 'plie fuul fi kech wiz'. The philosophy of praxis which these two examples denote ,are rooted in an aesthetcism in which performance became a critically important modus operandi for Black agency during ,and indeed after slavery; The social being the enslaved described themselves to be having one mind for the slvaeholder to see and another mind for what they knew themselves to be , denotes a social being who consciously constructs a (feigned) personality out of the cultural and intellectual fabric of white supremacy to protect and to mask the real personality and intentions of the enslaved through performance rituals of flattery, mimicry and deception and other forms of creative improvisational socio-political acts of becoming.;
Scholars of Cuba have long linked Afro-Cubans' fate to the revolutionary government. As the government's influence on people's daily lives has declined over the past decade, the question arises of whether Afro-Cubans have sustained the gains they achieved in the revolution's first 30 years. This article uses survey data, collected in December 2000 from 334 Cuban families in Havana, to assess the impact of the post-1993 economic reforms on rising racial inequality in Cuba. It asks whether racial inequities Occur in accessing dollars through state employment, self-employment, or remittances, and whether educational gains are tied to higher income. Results indicate that the structural means through which racial discrimination was once virtually eliminated through equal access to education and employment, and through which income levels became equalized according to educational level regardless of racial group, has lost its equalizing force in contemporary Cuba. [ABSTRACT FROM AUTHOR];
This essay examines public discussions around skin bleaching in Jamaica and demonstrates that a discourse of pathology is a dominant frame of meaning used to explain this practice. I argue that the practice of bleaching destabilizes popular conceptions of blackness that rely on an understanding of the body as immutable and naturally marked by race. Depicting skin bleaching as pathological attempts to recenter hegemonic conceptions of blackness and to discipline bodies so that they adhere to them.;
n this paper two gaps in North American immigrant homeownership research are addressed. The first concerns the lack of studies (especially in Canada) that identify changes in homeownership rates by skin color over time, and the second relates to the shortage of comparative research between Canada and the United States on this topic. In this paper the homeownership levels and attainment rates of Black, Chinese, Filipino, White, and South Asian immigrants are compared in Canada and the United States for 1970/1971–2000/2001. For the most part, greater similarities than differences are found between the two countries. Both Canadian and U.S. Chinese and White immigrants have the highest adjusted homeownership rates of all groups, at times even exceeding comparably positioned native-born households. Black immigrants, on the other hand, tend to have the lowest ownership rates of all groups, particularly in the United States, with Filipinos and South Asians situated between these extremes. Most of these differences stem from disparities that exist at arrival, however, and not from differential advancement into homeownershi [ABSTRACT FROM AUTHOR];
Author argues that both processes of fixity and fluidity characterize contemporary racialization and resistance to such racialization in Modern Latin America just as they did during the conquist.;
"The rise of the Afro-Cuban musical genre commonly known as son is representative
of Cuban society’s ability to affirm through art its primary cultural influences: Europe and Africa. Despite the successful transculturation within the music, however, the events surrounding the creation and acceptance of son reiterate the struggle between Cuban elites and the masses to define lo cubano. In this essay, I will show how the social and political conditions under which son became a representation of popular culture in Cuba served as a catalyst for the affirmation
of Cuba’s African roots, despite attempts on the part of the elite to exclude Afro-Cubans from establishing any connection to Cuban national identity." --The Author
