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Dr. Waters is one of a new breed of analysts for whom the interpenetration of politics, culture, and national development is key to a larger integration of social research. Race, Class, and Political Symbols is a remarkably cogent examination of the uses of Rastafarian symbols and reggae music in Jamaican electoral campaigns. The author describes and analyzes the way Jamaican politicians effectively employ improbable strategies for electoral success. She includes interviews with reggae musicians, Rastafarian leaders, government and party officials, and campaign managers. Jamaican democracy and politics are fused to its culture; hence campaign advertisements, reggae songs, party pamphlets, and other documents are part of the larger picture of Caribbean life and letters. This volume centers and comes to rest on the adoption of Rastafarian symbols in the context of Jamaica's democratic institutions, which are characterized by vigorous campaigning, electoral fraud, and gang violence. In recent national elections, such violence claimed the lives of hundreds of people. Significant issues are dealt with in this cultural setting: race differentials among Whites, Browns, and Blacks; the rise of anti-Cubanism; the Rastafarians' response to the use of their symbols; and the current status of Rastafarian ideological legitimacy.
Through case studies on, amongst others, the labour market, education, the family and legal system, this book examines the salience and silence of race and colour in Jamaica in the decades preceding and following independence and its impact on individuals and society.
Modern Blackness is a rich ethnographic exploration of Jamaican identity in the late twentieth century and early twenty-first. Analyzing nationalism, popular culture, and political economy in relation to one another, Deborah A. Thomas illuminates an ongoing struggle in Jamaica between the values associated with the postcolonial state and those generated in and through popular culture. Following independence in 1962, cultural and political policies in Jamaica were geared toward the development of a multiracial creole nationalism reflected in the country’s motto: “Out of many, one people.” As Thomas shows, by the late 1990s, creole nationalism was superseded by “modern blackness”—an urban blackness rooted in youth culture and influenced by African American popular culture. Expressions of blackness that had been marginalized in national cultural policy became paramount in contemporary understandings of what it was to be Jamaican. Thomas combines historical research with fieldwork she conducted in Jamaica between 1993 and 2003. Drawing on her research in a rural hillside community just outside Kingston, she looks at how Jamaicans interpreted and reproduced or transformed on the local level nationalist policies and popular ideologies about progress. With detailed descriptions of daily life in Jamaica set against a backdrop of postcolonial nation-building and neoliberal globalization, Modern Blackness is an important examination of the competing identities that mobilize Jamaicans locally and represent them internationally.
This book offers a detailed picture of Jamaica before and after independence. A 1961 journal sheds light on the political and social context before independence, while a 1968 journal shows how independence dissolved dissident forces and identifies the origins of Jamaica's current two party politics.
"Rich in subject matter and eminently readable, this book is also a fine work of scholarship. The more than 1,200 footnotes are models of clarity and relevance; the bibliography and index seem scrupulously accurate. . . While each generation must rewrite its own history, as Nicholls remarks, no book on Haiti for a long time to come will properly be able to ignore the analysis he here provides." --Ethnic and Racial Studies "Step by step, Nicholls] guides us through the various historical time periods of Haitian political and national development, illuminating each one of them by a cogent and learned discussion of the main ideas and ideologies that accompanied them." --The Political Quarterly "Probably the best book written about Haitian history after its independence . . . a thorough, thoughtful, extremely well-researched work." --Handbook of Latin American Studies In this lively, provocative, and well-documented history, David Nicholls discusses the impact of "color" on political and social alliances during almost two hundred years of Haitian history. While consciousness of racial identity has been a powerful factor which, from the earliest days, has united Haitians in a determination to preserve their national independence, color has been a divisive factor, leading to the erosion of the stability of that independence. Nicholls grounds this sophisticated analysis in great historical detail and engaging, witty prose. Students and general readers alike will gain much from this insightful and informative history of Haiti. A new preface to this edition covers the last ten years in Haitiain history. David Nicholls is a major authority on Haiti, and was in the country as a newspaper correspondent during the 1987 election disaster. His other books include Haiti in the Caribbean Context: Ethnicity; The Pluralist State: and Deity and Domination.
Who changed Bob Marley’s famous peace-and-love anthem into “Come to Jamaica and feel all right?” When did the Rastafarian fighting white colonial power become the smiling Rastaman spreading beach towels for American tourists? Drawing on research in social movement theory and protest music, Reggae, Rastafari, and the Rhetoric of Social Control traces the history and rise of reggae and the story of how an island nation commandeered the music to fashion an image and entice tourists. Visitors to Jamaica are often unaware that reggae was a revolutionary music rooted in the suffering of Jamaica’s poor. Rastafarians were once a target of police harassment and public condemnation. Now the music is a marketing tool, and the Rastafarians are no longer a “violent counterculture” but an important symbol of Jamaica’s new cultural heritage. This book attempts to explain how the Jamaican establishment’s strategies of social control influenced the evolutionary direction of both the music and the Rastafarian movement. From 1959 to 1971, Jamaica’s popular music became identified with the Rastafarians, a social movement that gave voice to the country’s poor black communities. In response to this challenge, the Jamaican government banned politically controversial reggae songs from the airwaves and jailed or deported Rastafarian leaders. Yet when reggae became internationally popular in the 1970s, divisions among Rastafarians grew wider, spawning a number of pseudo-Rastafarians who embraced only the external symbolism of this worldwide religion. Exploiting this opportunity, Jamaica’s new Prime Minister, Michael Manley, brought Rastafarian political imagery and themes into the mainstream. Eventually, reggae and Rastafari evolved into Jamaica’s chief cultural commodities and tourist attractions.
In this biography, Ula Taylor explores the life and ideas of one of the most important, if largely unsung, Pan-African freedom fighters of the twentieth century: Amy Jacques Garvey (1895-1973). Born in Jamaica, Amy Jacques moved in 1917 to Harlem, where she became involved in the Universal Negro Improvement Association (UNIA), the largest Pan-African organization of its time. She served as the private secretary of UNIA leader Marcus Garvey; in 1922, they married. Soon after, she began to give speeches and to publish editorials urging black women to participate in the Pan-African movement and addressing issues that affected people of African descent across the globe. After her husband's death in 1940, Jacques Garvey emerged as a gifted organizer for the Pan-African cause. Although she faced considerable male chauvinism, she persisted in creating a distinctive feminist voice within the movement. In her final decades, Jacques Garvey constructed a thriving network of Pan-African contacts, including Nnamdi Azikiwe, Kwame Nkrumah, George Padmore, and W. E. B. Du Bois. Taylor examines the many roles Jacques Garvey played throughout her life, as feminist, black nationalist, journalist, daughter, mother, and wife. Tracing her political and intellectual evolution, the book illuminates the leadership and enduring influence of this remarkable activist.
It is not uncommon for scholars and policy makers to assume that small and dependent states must follow the lead of great or middle powers. But is this always the case? Drawing on the increasingly influential Gramscian approach to international relations, this book shows the ways in which marginalized social forces in Jamaica were mobilized against the hegemonic practices emanating from the global political economy. Persaud emphasizes the counter-hegemonic cultural activities of these forces, as well as the attempt of the Jamaican government to form a global "trade union of the poor."
Social Inequalities, Media, and Communication: Theory and Roots provides a global analysis of the intersection of social inequalities, media, and communication. This book contains chapter contributions written by scholars from around the world who engage in country- and region-specific case studies of social inequalities in media and communication. The volume is a theoretical exploration of the classical, structuralist, culturalist, postmodernist, and postcolonial theoretical approaches to inequality and how these theoretical discourses provide critical understanding of social inequalities in relation to narratives shaped by media and communication experiences. The contributors provide class and gender analyses of media and culture, engage theoretical discourses of inequalities and capitalism in relation to communication technologies, and explore the cyclical relationship of theory and praxis in studying inequalities, media, and communication.