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).
The fifth annual Bermuda Jazz Festival took place on September 15-16, 2000, to a crowd estimated at 6,000. Some headliners included Roberta Flack, Norman Brown, Spyro Gyra, and Diana Krall. Many local Bermudans displayed their musical gifts as well
Focuses on the role of women and women's bodies in Trinidad Carnival. Information on the book 'Afro-Creole: Power, Opposition and Play in the Caribbean; Views on the Janus-faced effect of women's bodily performance; Collusion of global capitalism in the marketing and commodification of Caribbean popular culture.
Discusses the popular notions of sexuality that lay behind the women's bodily displays during Trinidad Carnival, the iconic Carnival experience in the region, and contrasts these to some Christian notions of the body and sexuality, which see the body ('the flesh') and sexuality, as problematic even sinful.
Proposes that cricket symbolizes both an assertive sense of black culture and an awareness of black economic dependency on whites, a tension that is reflective of Bermudian politics
