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.
Assesses if the economies of Barbados, Jamaica, Trinidad and Tobago, and Guyana can form part of a Caribbean monetary union. Correlations between the demand and supply indicate that monetary union may lead to greater stabilization problems for these economies.
At the beginning of the twentieth century there was a brief period of imperialist rhetoric among the Canadian business elite, the bankers of Toronto and Montreal in particular, who argued the benefits of an annexationist policy for the British West Indies to complement their deepening financial links to the Caribbean region.
Argues that the current proposal to reform the local government sector in Trinidad and Tobago stems from an eclectic application of various strands of thought that are in no way in keeping with the realities of the social and political environment of the country.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Following a brief introduction to the origins and aesthetics of calypso, soca (the child of calypso), and go-go music, the author suggests that, despite differences in location and sound, both genres share a common goal: offering underrepresented populations the power to negotiate and express their African heritage through music. Both soca and go-go also share three African musical traits: polymetric ensemble drumming, call-and-response techniques, and the use of allusive repetition that can span the works of various artists over a number of years.
