Drawing on data collected during a 2-year Economic and Social Research Council-funded project exploring the educational perspectives and strategies of middle-class families with a Black Caribbean heritage, this paper examines how participants, in professional or managerial occupations, position themselves in relation to the label 'middle class'.
Reports on data drawn from a study exploring the educational strategies of 62 Black Caribbean heritage middle-class parents. Considers the roles of race and class in the shaping of parents' educational strategies.
Develops a theoretical framework of biopolitical performance with which to approach the 1957 televised broadcast of Duke Ellington and Billy Strayhorn's A Drum Is a Woman. Presented on the drama anthology program The United States Steel Hour, this theater-music-dance suite fused elements of Afro-Caribbean rhythm with swing and bebop to tell a history of jazz, featuring acclaimed performers such as Carmen de Lavallade, Margaret Tynes, Joya Sherrill, and Talley Beatty. Argues that through their experimentation Ellington and Strayhorn created a hybrid performance in the mode of "calypso theater": a formal and thematic engagement with an Afro-Caribbean performance history.
Argues that the task for the researcher is attempting to understand how race and class differently interact in particular contexts. Concludes that a focus on Black Caribbean heritage families can further develop the concept of concerted cultivation, and demonstrate the complex ways in which, for these families, such a strategy is a tool of social reproduction but also functions as attempted protection against racism in White mainstream society.
Draws on qualitative data exploring the experiences of first-generation middle-class Black Caribbean-heritage parents, their own parents, and their children. Focuses on the different ways in which race and class intersect in shaping attitudes towards education and subsequent educational practices.
