178 p., This dissertation is about the role that conservative religious notions of racial ideology played in the historical origins of black nationalism and pan-Africanism. Focuses on the writings of an African Caribbean, Edward Blyden, as the centerpiece of the study. Blyden, a native of Saint Thomas (Virgin Islands) and considered one of the "fathers" of both pan-Africanism and African nationalism, was a particularly complex diasporic intellectual. Traveling first to the United States in the pre-Civil War period, then to Africa and Britain at the height of the European imperial venture - and Christian missionary efforts - Blyden served as a conduit between the West (the United States and Britain) and both a traditional and a Muslim Africa. He saw his role as one of mediating (critiquing/translating) these divergent voices and ideologies with the object of constituting a "modern," pan-African subject.
84 p., Examines literary blackness in The Brief Wondrous Life of Oscar Wao by Junot Díaz. The literary construct of the GhettoNerd, a character whose voice and worldview is informed not only by the harsh realities of inner-city life, but also by the other-worldliness of Genre and popular culture, stands as a testament to the cultural mixtape that is hip-hop. The author argues that the GhettoNerd is useful for making visible historical trauma and exposing marginalization while articulating agency and self-determination. In the case of Oscar Wao, Díaz creates the GhettoNerd in a Dominican context as a vehicle for exposing the blanqueamiento, the trujillato, and the deracialization among the Dominican diaspora.
282 p., Challenges how critical scholarship on race and racism in Latin America has traditionally understood racial subalterns in Cuba and Puerto Rico as people who are prevented from acting as black political subjects because of the hegemonic power of discourses of nationhood premised on ideas of mestizaje and racial fraternity. By providing an intellectual history of several important yet largely ignored Cuban and Puerto Rican activists intellectuals of color who lived and worked between the Caribbean and the U.S. at the turn of the 20th century, the author shows that instead of being tricked by creole elite national narratives, they attempted to redefine ideas of nationhood to challenge racism, colonialism, and imperialism at local, national, and transnational levels.
186 p., Preacher's Cave, an archaeological site in North Eleuthera, Bahamas, is arguably one of the most important historical places in that country. This large cave, isolated in a natural setting, has long been associated in the popular imagination with the first English colonists who shipwrecked in the Bahamas in 1648 and laid the foundation for the modern nation. Before the present work, no systematic scientific archaeological work had ever been conducted at this site. These excavations, in conjunction with the written record, also suggest that the area surrounding the site is the location of the first free black community in the country.
113 p., Jamaican folk songs have become a definitive characteristic of Jamaican culture. They are exemplars of a culture whose music reflects the lifestyle of most of its citizens. In modern times, their beauty has been show cased in local and foreign performances which exposes an element of the country to the world. Additionally, the arrangements of songs by Jamaican composers like Noel Dexter and Peter Ashbourne have aided in their renaissance in modern times. This research analyzes the arrangements by Noel Dexter and Peter Ashbourne. It explores the transition of Jamaican folk songs from the slave fields to the art music stage.
237 p., Free people of color held an ambiguous place in Caribbean slave societies. On the one hand they were nominally free, but the reality of their daily lives was often something less than free. This work examines how free people of color, or libres de color , in nineteenth-century Cuba attempted to carve out lives for themselves in the face of social, economic, and political constraints imposed on them by white Cubans and Spaniards living in the island. It focuses on how through different Afro-Cuban associations some libres de color used public music and dance performances to self-fashion identities on their own terms.
