Pub Date : 2021-07-01DOI: 10.1215/07990537-9384402
Aaron Kamugisha
Abstract:This essay proffers a response to three critical engagements with the author's 2019 Beyond Coloniality: Citizenship and Freedom in the Caribbean Intellectual Tradition. The author contextualizes Beyond Coloniality as a book that seeks to effect a challenging alliance between studies of the anglophone Caribbean's postindependence social and political order and scholarship on Caribbean thought. Ultimately, Beyond Coloniality engages in a quest for freedom beyond neocolonial citizenship.
{"title":"Caribbean Freedom beyond Coloniality","authors":"Aaron Kamugisha","doi":"10.1215/07990537-9384402","DOIUrl":"https://doi.org/10.1215/07990537-9384402","url":null,"abstract":"Abstract:This essay proffers a response to three critical engagements with the author's 2019 Beyond Coloniality: Citizenship and Freedom in the Caribbean Intellectual Tradition. The author contextualizes Beyond Coloniality as a book that seeks to effect a challenging alliance between studies of the anglophone Caribbean's postindependence social and political order and scholarship on Caribbean thought. Ultimately, Beyond Coloniality engages in a quest for freedom beyond neocolonial citizenship.","PeriodicalId":46163,"journal":{"name":"Small Axe","volume":"20 1","pages":"190 - 196"},"PeriodicalIF":0.6,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75111395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1215/07990537-9384198
C. Colón-Montijo
Abstract:Margarita "Doña Margot" Rivera García (1909–2000) was a black working-class Puerto Rican woman whose labor as a composer, healer, midwife, and spiritual medium made her an esteemed community leader among her neighbors from Santurce, a predominantly black enclave in San Juan. Through her bomba and plena compositions, she helped forge modern black Puerto Rican music amid the rapid industrialization of Puerto Rico after the 1950s. However, her story has been overshadowed by the aura of her son, the legendary Afro–Puerto Rican singer Ismael "Maelo" Rivera (1931–87). Although Doña Margot is praised as a maternal figure who gave Maelo the gift of rhythm, her story as a woman and artist has remained widely unheard. This essay examines her parallel presence and erasure in salsa historiography, taking her testimonios about her musical gift as offering a counternarrative that defies masculinist music histories and serves as a site of memory that endures erasure.
{"title":"Her Name Was Doña Margot","authors":"C. Colón-Montijo","doi":"10.1215/07990537-9384198","DOIUrl":"https://doi.org/10.1215/07990537-9384198","url":null,"abstract":"Abstract:Margarita \"Doña Margot\" Rivera García (1909–2000) was a black working-class Puerto Rican woman whose labor as a composer, healer, midwife, and spiritual medium made her an esteemed community leader among her neighbors from Santurce, a predominantly black enclave in San Juan. Through her bomba and plena compositions, she helped forge modern black Puerto Rican music amid the rapid industrialization of Puerto Rico after the 1950s. However, her story has been overshadowed by the aura of her son, the legendary Afro–Puerto Rican singer Ismael \"Maelo\" Rivera (1931–87). Although Doña Margot is praised as a maternal figure who gave Maelo the gift of rhythm, her story as a woman and artist has remained widely unheard. This essay examines her parallel presence and erasure in salsa historiography, taking her testimonios about her musical gift as offering a counternarrative that defies masculinist music histories and serves as a site of memory that endures erasure.","PeriodicalId":46163,"journal":{"name":"Small Axe","volume":"51 1","pages":"36 - 49"},"PeriodicalIF":0.6,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73641539","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1215/07990537-9384212
Sarah M. Quesada
Abstract:This essay focuses on the "dual" biopolitics of Cuban filmmaker Gloria Rolando's Raíces de mi corazón (Roots of My Heart, 2001). In her film about an antiblack genocide in early-twentieth-century Cuba, Rolando seeks to recover the suppressed 1912 massacre of members of the black Cuban Partido Independiente de Color (the Independent Party of Color) and thousands of other Afro-Cubans through the plane of the intimate. The author argues that Rolando's film challenges the myth of racial equality throughout Cuba's modern history by celebrating Afro-Cuban traditions, from orisha rituals to patakíes (Afro-Cuban oral tradition), over a reappropriated plantational space in which black sensuality contests negative biopolitical forms. Rolando not only draws from transnational critical race theory to address the myth of Latin American exceptionalism, she also challenges Michel Foucault's conceptualization of biopolitics casting black sensuality over racial violence.
摘要:本文关注古巴电影导演格洛丽亚·罗兰多的《我心的根》(Raíces de mi corazón, 2001)中的“双重”生命政治。在这部关于20世纪早期古巴反黑人种族灭绝的电影中，罗兰多试图通过亲密关系的层面来恢复1912年被镇压的屠杀，屠杀的对象是黑人古巴彩色独立党(Partido independdiente de Color)成员和数千名其他非裔古巴人。作者认为，罗兰多的电影挑战了贯穿古巴现代史的种族平等神话，颂扬了古巴黑人的传统，从奥里沙仪式到patakíes(古巴黑人口头传统)，在一个被重新占用的种植园空间里，黑人的性感与消极的生物政治形式相抗衡。罗兰多不仅借鉴了跨国批判种族理论来解决拉丁美洲例外论的神话，她还挑战了米歇尔·福柯将黑人性感置于种族暴力之上的生命政治概念。
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Pub Date : 2021-07-01DOI: 10.1215/07990537-9384360
M. Sheller
Abstract:This essay reviews Aaron Kamugisha's reading of the works of C. L. R. James and Sylvia Wynter in his 2019 book Beyond Coloniality: Citizenship and Freedom in the Caribbean Intellectual Tradition. Kamugisha issues a resounding call to reenergize the radical Caribbean intellectual tradition, saving us from our own alienation, colonization, and ambivalence. This essay takes inspiration from Beyond Coloniality to respond to the climate-political-social-cultural crisis in the Caribbean and to think through the possibilities for futurity in relation to reparative justice and ecological repair. It considers how the multiple devastations of recent "unnatural disasters" in the Caribbean are the outcome of the coloniality of climate, the deadly logics of racial capitalism, and the persistence of antiblack racism globally. The coloniality of climate calls for attention to repair, care, and reparations. We need to ask, Who is responsible, who is harmed, and who should be accountable?
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Pub Date : 2021-07-01DOI: 10.1215/07990537-9384374
H. Neptune
Abstract:This review essay asserts that Aaron Kamugisha's 2019 Beyond Coloniality: Citizenship and Freedom in the Caribbean Intellectual Tradition, for all its brilliance, does not do justice to the thought of C. L. R. James, especially in relation to gender. After claiming that Kamugisha mostly misses the emancipatory and at times radical aspects of James's feminist thinking, which was developed most fully during his years in the United States (1938–52), the author allows that the omission appears to be not deliberate but an unintended consequence of Kamugisha's faithful following of the dominant North Atlantic interpretation of the "American James." In particular, the author sees Kamugisha as seeming to accept without question the hegemonic Americanist assumption that James took a romantic excursion in the United States, and thus Beyond Coloniality neglects the deeply gendered analysis at the heart of James's 1950 manuscript that eventually found publication in 1993 as American Civilization. Although James certainly never got out of "gender jail" in his lifetime, American Civilization betrayed his hopeful vision of escape. This essay proposes to Kamugisha that a careful and independent reading of this text could have revealed James as a far more sophisticated failure than the virtually helpless figure drawn in Beyond Coloniality.
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Pub Date : 2021-07-01DOI: 10.1215/07990537-9384184
Mark Harris
Abstract:This essay asks how the soundscapes represented in Caribbean literature and music provide alternative paradigms for conceptualizing noise and silence. As American and European sound studies have drawn from the writings of John Cage, Murray Schafer, and Jacques Attali to articulate alternative practices of listening and soundmaking, they have marginalized black experience. Caribbean noise, formed out of resistance to slavery and colonialism, has been excluded from informing those alternative practices. The depths of sonic experience revealed by soundscapes of Kamau Brathwaite's poetry and the Mighty Sparrow's calypsos concern the impact of centuries of Atlantic slavery on black hearing and speaking. They expose the racial and economic determinants of sound studies' advocacy of indifferent listening and pure sound environments. In contrast, Caribbean histories of resourceful hearing and soundmaking bring distinctive sonic cultures to challenge established listening practices and provide ways of questioning canonical definitions of noise and silence.
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Pub Date : 2021-07-01DOI: 10.1215/07990537-9384272
A. López
Abstract:This essay introduces a special section on the Afro-Cuban poet and intellectual Nancy Morejón's 1982 book Nación y mestizaje en Nicolás Guillén (Nation and Mestizaje in Nicolás Guillén). It sets up the contributors by surveying the literary and political trajectory of Morejón's career in the years leading up to the publication of the book, focusing in part on her silencing by the Cuban state because of earlier activities centered on Afro-Cuban rights. The essay considers the themes and arguments of Nación y mestizaje, recognizing the surfaces, depths, and fissures of its actual and apparent doctrinaire lauding of Guillén as exemplar of Cuba's cultural politics.
摘要:本文专门介绍了古巴黑人诗人、知识分子南希·Morejón 1982年出版的著作Nación y mestizaje en Nicolás guillacimen (Nation and mestizaje in Nicolás guillacimen)。这本书通过调查Morejón在出版前几年的文学和政治生涯轨迹来设置撰稿人，部分关注她因早期以非洲裔古巴人权利为中心的活动而被古巴政府噤声。本文考虑了Nación y meestizaje的主题和论点，认识到其实际和明显的教条主义赞美guillemassan作为古巴文化政治典范的表面，深度和裂缝。
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Pub Date : 2021-07-01DOI: 10.1215/07990537-9384226
Lomarsh Roopnarine
Abstract:Two white ethnic minorities, Jews and Frenchies, are rather unusual in St. Thomas, US Virgin Islands. The Jews arrived during the period of slavery and participated in the economic colonialism of islands, retaining a prominent position in the Virgin Islands. The Frenchies in St. Thomas arrived from St. Barths after slavery. These white minorities have expanded connections between friends and families as well as in their departed homeland and the Virgin Islands. Their strong religious beliefs and in-group solidarity allowed them to remain in the sociological and economic comfort zones of St. Thomas. In modern times, they have branched out from their insular zones and merged their mores and folkways and their peasant and professional ways, on their gradual terms, with those of other ethnic Virgin Islanders, bringing themselves closer to Virgin Islands society as evidenced by their younger generation.
{"title":"Jews and Frenchies: The White Ethnic Minority in the US Virgin Islands","authors":"Lomarsh Roopnarine","doi":"10.1215/07990537-9384226","DOIUrl":"https://doi.org/10.1215/07990537-9384226","url":null,"abstract":"Abstract:Two white ethnic minorities, Jews and Frenchies, are rather unusual in St. Thomas, US Virgin Islands. The Jews arrived during the period of slavery and participated in the economic colonialism of islands, retaining a prominent position in the Virgin Islands. The Frenchies in St. Thomas arrived from St. Barths after slavery. These white minorities have expanded connections between friends and families as well as in their departed homeland and the Virgin Islands. Their strong religious beliefs and in-group solidarity allowed them to remain in the sociological and economic comfort zones of St. Thomas. In modern times, they have branched out from their insular zones and merged their mores and folkways and their peasant and professional ways, on their gradual terms, with those of other ethnic Virgin Islanders, bringing themselves closer to Virgin Islands society as evidenced by their younger generation.","PeriodicalId":46163,"journal":{"name":"Small Axe","volume":"1 1","pages":"69 - 82"},"PeriodicalIF":0.6,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91276218","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1215/07990537-9384300
Odette Casamayor-Cisneros
Abstract:This intersectional and epistemological study of Nancy Morejón's 1982 Nación y mestizaje en Nicolás Guillén resolves the tension, which intrigued most of her critics, between her political commitment and sophisticated lyricism. The author examines Morejón's unquestionable revolutionary support and adhesion to Guillén's conceptualization of la nación mestiza—instrumental for the cohesiveness promoted by the revolutionary regime—through the comprehensive analysis of her family socioeconomic background, the coincidence of her arrival to adolescence with the revolutionary triumph in 1959, and her affiliation to the editorial group El Puente (1961–65). Intersectionality allows an understanding of how Morejón's self-identification and self-representation as a black revolutionary female writer condition her elaboration of counternarratives that thwart the Eurocentric and patriarchally constructed national history. The essay reveals rarely examined contradictions between Morejón's and Guillén's poetry and discusses how the writers' shared essentialist views on nationhood fail to ultimately deconstruct the hegemonic Eurocentric epistemology they vowed to upend. (In Spanish; an English translation is available online)
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