How colonial categories of race and religion together created identities and hierarchies that today are vehicles for multicultural nationalism and social critique in the Caribbean and its diasporas.
When the British Empire abolished slavery, Caribbean sugar plantation owners faced a labor shortage. To solve the problem, they imported indentured “coolie” laborers, Hindus and a minority Muslim population from the Indian subcontinent. Indentureship continued from 1838 until its official end in 1917. The Deepest Dye begins on post-emancipation plantations in the West Indies—where Europeans, Indians, and Africans intermingled for work and worship—and ranges to present-day England, North America, and Trinidad, where colonial-era legacies endure in identities and hierarchies that still shape the post-independence Caribbean and its contemporary diasporas.
Aisha Khan focuses on the contested religious practices of obeah and Hosay, which are racialized as “African” and “Indian” despite the diversity of their participants. Obeah, a catch-all Caribbean term for sub-Saharan healing and divination traditions, was associated in colonial society with magic, slave insurrection, and fraud. This led to anti-obeah laws, some of which still remain in place. Hosay developed in the West Indies from Indian commemorations of the Islamic mourning ritual of Muharram. Although it received certain legal protections, Hosay’s mass gatherings, processions, and mock battles provoked fears of economic disruption and labor unrest that led to criminalization by colonial powers. The proper observance of Hosay was debated among some historical Muslim communities and continues to be debated now.
In a nuanced study of these two practices, Aisha Khan sheds light on power dynamics through religious and racial identities formed in the context of colonialism in the Atlantic world, and shows how today these identities reiterate inequalities as well as reinforce demands for justice and recognition.
As Louisiana and Cuba emerged from slavery in the late nineteenth century, each faced the question of what rights former slaves could claim. Degrees of Freedom compares and contrasts these two societies in which slavery was destroyed by war, and citizenship was redefined through social and political upheaval. Both Louisiana and Cuba were rich in sugar plantations that depended on an enslaved labor force. After abolition, on both sides of the Gulf of Mexico, ordinary people—cane cutters and cigar workers, laundresses and labor organizers—forged alliances to protect and expand the freedoms they had won. But by the beginning of the twentieth century, Louisiana and Cuba diverged sharply in the meanings attributed to race and color in public life, and in the boundaries placed on citizenship.
Louisiana had taken the path of disenfranchisement and state-mandated racial segregation; Cuba had enacted universal manhood suffrage and had seen the emergence of a transracial conception of the nation. What might explain these differences?
Moving through the cane fields, small farms, and cities of Louisiana and Cuba, Rebecca Scott skillfully observes the people, places, legislation, and leadership that shaped how these societies adjusted to the abolition of slavery. The two distinctive worlds also come together, as Cuban exiles take refuge in New Orleans in the 1880s, and black soldiers from Louisiana garrison small towns in eastern Cuba during the 1899 U.S. military occupation.
Crafting her narrative from the words and deeds of the actors themselves, Scott brings to life the historical drama of race and citizenship in postemancipation societies.
A leading member of the new Afro-Cuban cultural movement, visual artist Juan Roberto Diago (b. 1971) has produced a body of work that offers a revisionist history of the Cuban nation. His “history”—a term he frequently inserts in his works using the visual language of graffiti—is not the official narrative of a racially harmonious nation, built thanks to the selfless efforts of generous white patriots. Diago’s Cuba is a nation built on pain, rape, greed, and the enslavement of millions of displaced Africans, a nation still grappling with the long-term effects of slavery and colonialism. To him, slavery is not the past, but a daily experience of racism and discrimination. Africa is not a root, but a wellspring of cultural renovation and personal affirmation, the ancestors that sustain him in his journey.
In the first examination of Diago’s creative work during his entire career, Alejandro de la Fuente provides parallel English- and Spanish-language text, illustrated throughout. The book traces Diago’s singular efforts to construct new pasts—the pasts required to explain the racial tensions of contemporary Cuba and the pasts of this Afro-Cuban present.
Provides a politically and historically informed review of Cuban archaeology, from both American and Cuban perspectives.
Many Americans are aware of the political, economic, and personal impacts of the U.S. embargo on Cuba. But the communication blockade between scholars has also affected the historical course of academic disciplines and research in general. With the easing of restrictions in the 1990s, academics are now freer to conduct research in Cuba, and the Cuban government has been more receptive to collaborative projects.
This volume provides a forum for the principal Cuban and American archaeologists to update the current state of Cuban archaeological research--from rock art and potsherds to mortuary practices and historical renovation--thereby filling in the information gap created by the political separation. Each group of researchers brings significant new resources to the effort, including strong conservation regulations, innovative studies of lithic and shell assemblages, and transculturation theories. Cuban research on the hacienda system, slavery, and urban processes has in many ways anticipated developments in North American archaeology by a decade or more. Of special interest are the recent renovation projects in Old Havana that fully integrate the work of historians, architects, and archaeologists--a model project conducted by agreement between the Cuban government and UNESCO.
The selection of papers for this collection is based on a desire to answer pressing research questions of interest for North American Caribbeanists and to present a cross-section of Cuban archaeological work. With this volume, then, the principal players present results of recent collaborations and begin a renewed conversation, a dialogue, that can provide a foundation for future coordinated efforts.
Drawing on previously untapped documents in the Trujillo National Archives and interviews with Dominicans who recall life under the dictator, Derby emphasizes the role that public ritual played in Trujillo’s exercise of power. His regime included the people in affairs of state on a massive scale as never before. Derby pays particular attention to how events and projects were received by the public as she analyzes parades and rallies, the rebuilding of Santo Domingo following a major hurricane, and the staging of a year-long celebration marking the twenty-fifth year of Trujillo’s regime. She looks at representations of Trujillo, exploring how claims that he embodied the popular barrio antihero the tíguere (tiger) stoked a fantasy of upward mobility and how a rumor that he had a personal guardian angel suggested he was uniquely protected from his enemies. The Dictator’s Seduction sheds new light on the cultural contrivances of autocratic power.
Pedro Martínez. Sammy Sosa. Manny Ramírez. By 2000, Dominican baseball players were in every Major League clubhouse, and regularly winning every baseball award. In 2002, Omar Minaya became the first Dominican general manager of a Major League team. But how did this codependent relationship between MLB and Dominican talent arise and thrive?
In his incisive and engaging book, Dominican Baseball, Alan Klein examines the history of MLB's presence and influence in the Dominican Republic, the development of the booming industry and academies, and the dependence on Dominican player developers, known as buscones. He also addresses issues of identity fraud and the use of performance-enhancing drugs as hopefuls seek to play professionally.
Dominican Baseball charts the trajectory of the economic flows of this transnational exchange, and the pride Dominicans feel in their growing influence in the sport. Klein also uncovers the prejudice that prompts MLB to diminish Dominican claims on legitimacy. This sharp, smartly argued book deftly chronicles the uneasy and often contested relations of the contemporary Dominican game and industry.
The specter of the Soviet Union lingers in Cuba, yet until now there has been no book-length work on the ways Cubans process their country’s relationship with the Soviet bloc. Dreaming in Russian at last brings into the light the reality that for nearly three decades, the Soviet Union subsidized the island economically, intervened in military matters, and exported distinct pedagogical and cultural models to Cuba. Drawing on interviews with Cuban artists and intellectuals, as well as treasures from cinematographic and bibliographic archives, Jacqueline Loss delivers the first book to show that Cuba remembers and retains many aspects of the Soviet era, far from shedding those cultural facets as relics of the Cold War.
Weaving together intriguing, seldom-seen images, Dreaming in Russian showcases the ways in which Cuba’s relationship to its Soviet benefactors lingered after the disintegration of the U.S.S.R. in 1991. Analyzing numerous literary texts and works of visual art, Loss also incorporates aspects of architecture, popular culture, the space race, and other strands to create a captivating new perspective on Cuban society. Among the luminaries featured are poet Reina María Rodríguez, writer Antonio José Ponte, visual artist Tonel, and novelist Wendy Guerra. A departure from traditional cultural history, Loss’s approach instead presents a kaleidoscopic series of facets, reflecting the hybrid nature of the self-images that emerged in the aftermath of the Soviet aegis. As speculations about Cuba’s future under Fidel Castro’s heir apparent continue, the portrait that emerges in Dreaming in Russian is both timely and mesmerizing.
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