Caribbean Studies

Cet article se concentre sur les modalités de la mise en scène des statues dans le cinéma des Antilles françaises, qui s’apparente de facto à un désir de mise en ruines (partielle ou totale) de ces dernières. Que révèle cette systématique mise à mal des statues, si ce n’est une opposition aux statues représentantes de l’autorité de la France (au sens de l’Hexagone) qui mène à l’avènement de « sa » propre statuaire, véhicule d’une mémoire des luttes anticoloniales ? Mais ce qui pourrait être interprété comme étant une guerre (symbolique et concrète) pour l’espace s’avère, en définitive, être tout autant un conflit de temps entre, d’un côté, le « temps du cheval », à savoir le temps du dominant qu’incarnent les statues de ces territoires français, et de l’autre le « temps du chouval-bwa/cheval-de-bois », à savoir le temps du colonisé en quête d’émancipation.

Cet article se concentre sur l’analyse des modalités de mise en scène du quotidien dans le cinéma des Antilles françaises, que nous nommons « cinéma antillais-péyi » (à savoir les longs-métrages de fiction réalisés par des professionnels antillais ou d’origine antillaise se déroulant, en termes objectifs de durée, majoritairement en Guadeloupe et/ou en Martinique). Dans un premier temps, nous observerons la réticence à mettre en scène un quotidien de l’intérieur des cases ainsi que l’élan « coupé » d’un quotidien de l’extérieur, politiquement chargé. Dans un second temps, nous analyserons le caractère tragique de la répétition dans ce cinéma avant d’en voir le dépassement à travers la mise en scène d’une itération constructive dans la pratique de sa culture, à l’origine d’un quotidien enfin collectivement « approprié ».

Ervaren cultureel antropologe en niet-westers sociologe met meer dan 30 jaar ervaring binnen het publieke sociale domein bij de Gem. Amsterdam. Verder gespecialiseerd in Surinaamse geschiedenis, Afro-Surinaams erfgoed, diaspora, diversiteit, inclusie en diversiteit, gemeenschapsontwikkeling en kennisoverdracht. Bekend om het verbinden van onderzoek, beleid, educatie en maatschappelijke vraagstukken. • VWO (Atheneum A)/ Directie Schoevers opleiding/ Culturele Antropologie/Niet-Westerse Sociologie -VU en UvA/Train the Trainer/ Ambassadeur Diversiteit en Inclusie Gem. Amsterdam. Meer dan 30 jaar werkzaam binnen de Gemeente Amsterdam in functies gericht op sociale ontwikkeling, participatie, bewonersinitiatieven, diversiteit, inclusie en maatschappelijke ondersteuning. Ervaring met beleidsontwikkeling, projectcoördinatie, netwerkvorming en community building. Auteur van artikelen, essays en onderzoeksbijdragen over Suriname, identiteit, erfgoed en diaspora. Dichter onder het pseudoniem Chakuwa. Auteur van de dichtbundel DVO (Dichter, Vriendschap, Ode a/d Zwarte Vrouw). Lezingen over Trefossa, Surinaamse geschiedenis, cultureel erfgoed, Black History, diaspora-identiteit en emancipatievraagstukken voor onderwijsinstellingen, culturele organisaties en gemeenten.

À travers cet article, nous abordons les différents aspects de la pensée archipélique, poétique proposée par l’auteur caribéen Édouard Glissant, afin d’observer dans quelles mesures celle-ci pourrait proposer des pistes de construction pratique de cinémas insulaires, dans un dialogue entre les Antilles et Madagascar.

As a prominent member of the so-called ‘reggae revival’ movement that has been growing in Jamaica, Chronixx offers a window through which to explore how the new generation of conscious artistes deal with the legacy of roots reggae icons such as Bob Marley and Peter Tosh. Specifically, moving beyond the aesthetic purpose of reggae, the author explores the ways Chronixx has revisited the revolutionary discourse of Peter Tosh, which serves as an instrument for social transformation. To make this case, the author conceptualizes protest music as an articulation of the personal and the political, thereby opening the door for an analysis of how Chronixx delves into his own experience to legitimize the transformative strategy of his reggae revival contemporaries. It is not by dint of chance that his hit song ‘Here Comes Trouble’ is reminiscent of both Yellowman's ‘Soldier Take Over’ and Peter Tosh's ‘Recruiting Soldiers.’ These parallels show how Chronixx brings up to date the revolutionary discourse of a reggae figurehead like Peter Tosh, while speaking to the local sensibilities of a younger generation of dancehall fans. Throughout this analysis, the author highlights the distinctive creativity of Chronixx whose artistic practice provides a broader framework for understanding how continuity and change are dialectically related in Jamaican popular music. Such a framework can encourage us to locate the permanence of a politics of resistance at the intersection of tradition and modernity.

In a recent ISJ paper, “Island Archaeology: In Search of a New Horizon”, Boomert and Bright (2007) argue that the field of “island archaeology” should be replaced by an “archaeology of maritime identity”. We disagree and counter that although islands share many physical, biological, and cultural similarities with continental coasts, coastal zones also grade uninterruptedly into riverine, lacustrine, and terrestrial landscapes, raising questions about the validity of their concept of the archaeology of maritime identity. In our view, island archaeology (the application of archaeology to island settings), regardless of past biogeographical underpinnings, has made major contributions to understanding the historical ecology, human impacts, and cultural developments of islands around the world. A focus on islands by archaeologists has encouraged scholars to study the history of island and maritime societies within a comparative framework that is useful for breaking out of the often provi...

This paper examines the connections and continuities of the idea of groups in Fanon's work as a mental health professional and as a professional revolutionary. The first part looks at Fanon's sociotherapeutic work at Blida-Joinville Psychiatric Hospital in colonial Algeria, including his critique of the failures of sociotherapy (which I prefer to call socio-psychotherapy), arguing that psychiatry must become political. The second part considers his analysis of the Algerian revolution, highlighting the radical changes in consciousness that it has engendered and the pitfalls it faced because 'consciousness needs help' and militants need enlightenment. The idea of group work-including everyone in discussion and breaking down the divisions between 'leaders' (experts) and the 'led'-is aimed at disalienation and enlightenment of individuals, whether in the clinic or in the shack settlement, and can be considered a fundamental element of Fanon's praxis.

El concepto de transculturación, acuñado por Ortiz en 1978, describe un complejo proceso de intercambio y transformación cultural donde elementos de distintas tradiciones se fusionan, se resisten y se resignifican. Más allá de una simple adopción, la transculturación implica una dinámica de pérdidas, ganancias y creaciones, dando lugar a nuevas expresiones culturales híbridas. Este fenómeno, que va más allá de la aculturación, subraya la naturaleza mutable y dialéctica de las identidades culturales. Ortiz, en su análisis del Caribe y América Latina, reconoció la complejidad del mestizaje cultural, superando una visión inicial eurocéntrica. Este proceso, marcado por tensiones y negociaciones, ha generado sociedades culturalmente ricas y diversas, aunque también desiguales. La identidad cultural, lejos de ser estática, se configura y reconfigura constantemente en este diálogo intercultural, dando lugar a identidades híbridas y en constante evolución. El texto nos invita a reconocer y valorar la riqueza de las contribuciones culturales, sin obviar las injusticias históricas. La transculturación, más que un choque, representa una oportunidad para construir sociedades más justas y equitativas, donde la diversidad cultural se convierta en una fuente de enriquecimiento y creatividad.

Since its publication in 1979, Octavia Butler's Kindred has continued to receive critical attention, illustrating the enduring significance and relevance of the novel. While many have examined the novel for its engagement with race and history, little attention has been paid to the significance of the novel in the context of political, social, and cultural tensions in present-day America. Thus, this study explored Kindred for its futurist vision of racial reconciliation and harmony through a process of interracial justice in America. Close reading served as the methodology for analysis. Also, Afrofuturism was adopted as a theoretical framework to examine the significance of time travel in the novel. It was submitted that Dana's and Kevin's teleportation to the past increases their capacity for empathy for the enslaved and broadens their perception of the roots of racial tension in their time. Dana's stabbing of Rufus was read as a metaphorical act representing African Americans' rejection of racism and the active pursuit of an equitable future. Kevin's direct witnessing of slavery in the past and his increased empathy indicate a need for White people to participate in the project of recognition, racial reconciliation, and equity. Moreover, it was proposed that their marriage, in the context of the 21st century, promotes racial harmony through interracial justice. Ultimately, the Afrofuturist vision of the future in the novel leans towards the consolidation of multiracial harmony where all individuals, irrespective of their racial class, can co-exist as kindred spirits.

This essay examines the life, work, and enduring legacy of Edmund A. "Eddie" "Izzar" Toulon (1960–2001) and the role of the Frontline Cooperative Bookstore in shaping post-independence Dominican nation-building through education, cooperative economics, cultural activism, and Pan-Africanist philosophy. Founded in 1981–1982 by a group of young Dominican nationalists, educators, writers, and community organizers led by Gabriel J. Christian and Eddie Toulon, Frontline emerged from the intellectual traditions of Cadre Number One, the Popular Independence Committee, Garveyite thought, and Caribbean anti-colonial movements. More than a bookstore, Frontline functioned as a center for literacy, historical consciousness, cultural affirmation, artistic development, and cooperative enterprise.
The essay traces Eddie Toulon's formative years in Dominica and the United Kingdom, including his education at Roseau Boys School, Saint Mary's Academy, Inner London Education Authority schools, and Hammersmith and West London College, where exposure to Black History studies, community organizing, and Pan-Africanist thought profoundly shaped his worldview. Returning to Dominica in 1981, Toulon became the principal architect of Frontline's growth as a bookstore, publishing house, cultural center, music promoter, and educational institution. Through publications such as Rampart, Frontline challenged colonial narratives, promoted African and Kalinago heritage, supported African liberation struggles, and advanced a vision of national development rooted in social justice, self-reliance, and cultural pride.
The essay further situates Frontline within a broader historical continuum stretching from J.R. Ralph Casimir and the Universal Negro Improvement Association, through the Movement for a New Dominica and Rosie Douglas's Popular Independence Committee, to the later establishment of Pont Casse Press by Gabriel J. Christian and Dr. Irving W. André. It argues that Frontline represented a uniquely Dominican model of cultural nation-building in which literature, music, education, and cooperative economics served as instruments of liberation and development.
Concluding with an examination of Toulon's later achievements as Chairman of the Canefield Urban Council, Chairman of the National Education Trust Fund Committee, and founding Executive Director of the Dominica Festivals Commission and architect of the World Creole Music Festival, the essay contends that Eddie Toulon's greatest legacy lies in the national consciousness, cultural confidence, and love of country he inspired. His sudden death from a fatal asthma attack on October 2, 2001, prompted a massive national outpouring of grief, reflecting the profound impact of a life dedicated to the service of people, culture, and nation. Ultimately, the essay demonstrates how Frontline Cooperative Bookstore became an enduring example of the principle that guided its founders and remains relevant to Dominican development today: "Knowledge Conquers All."