VIDEO: Bayou Maharajah - James Booker documentary > Dust Tracks On a Road


<p>Bayou Maharajah Trailer from Lily Keber on Vimeo.</p>

A Piano Genius Is Revealed

in the Trailer for

‘Bayou Maharajah’  

The New Orleans native James Booker was a wondrously gifted pianist who helped embody his city’s definitive take on R&B. Though praised by the likes of Dr. John, who called him “the best black, gay, one-eyed junkie piano genius New Orleans has ever produced,” Booker still experienced racial and sexual marginalization before passing away in 1983.

Booker’s personal struggles and musical accomplishments are explored in the new documentary Bayou Maharajah: The Tragic Genius of James Booker. It’s a revealing look at the unique, talented artist, who was steadfast in his musical beliefs. “Somebody told me there’s not a very big market for the blues,” he says in this exclusive trailer clip. “I refuse to believe that. Maybe they just don’t want me to know the value of what I’ve got to offer.”

Bayou Maharajah: The Tragic Genius of James Booker premieres on March 14th at SXSW. It will screen again the following day at the Alamo Ritz 2.

via Rolling Stone

 

VIDEO: Al Nisa - Muslim Women in Atlanta's Gay Mecca > Queer Africans of the Diaspora

AL NISA 
Muslim Women
in Atlanta's Gay Mecca

ancestryinprogress:

librainmaat:

 

surlysweetness:

tianw:

Shot & Edited by IntrygueGraphics, LLC © 2013
Directed by Red Summer

Muslim Women in Atlanta’s Gay Mecca

Al Nisa discusses the experiences of living with the multiple identities of being Black, Female, Muslim, and Lesbian.

Fore more information: www.theredsummerexperience.com 

i’m into it. also, if this thing don’t work out with me and this boo, i’m moving to atlanta. 

 

DANCE + VIDEO: New Zealand Contemporary Dance Troupe Black Grace Uses Traditional Maori and Samoan Moves > PRI's The World



If you’ve ever seen New Zealand’s All Blacks rugby team, you know something about the Haka. If you’ve ever seen New Zealand’s All Blacks rugby team, you know something about the Haka.

It’s the traditional Maori warrior dance they use as a warm-up.

Well, New Zealand’s leading contemporary dance company Black Grace, also uses Maori Haka and Samoan traditions, and turns them into something entirely new.


Eleven mostly Samoan and Maori dancers filled the stage when I saw them in Portland, Oregon.

They performed a piece based on the traditional ideas of Samoan slap dancing.

The dancers made sky-high jumps and quick turns to create complex rhythms of floor stomping, cries and body slaps.

Black Grace artistic director Neil Ieremia says he took Samoan slap dancing and melded it with a children’s hand game to make a dance statement about child abuse.

“It’s a big thing back home,” Ieremia says. “And particularly being Pacific Island descent, I had kids, mates, turn up school with bruises and what have you and sometimes they wouldn’t turn up at all. Or, they might turn up six weeks late later after the cast had come off a broken piece of their body or something. So it was tough to reflect that back on our communities but I really thought that was part of our responsibility.”

New Zealand contemporary dance troupe Black Grace. (Artistic Direction: Neil Ieremia; Photography: Duncan Cole)

New Zealand contemporary dance troupe Black Grace. (Artistic Direction: Neil Ieremia; Photography: Duncan Cole)

That responsibility to tell authentic stories through dance was something Iremeia felt passionate about 18 years ago when he formed Black Grace. But the decision to become a professional dancer wasn’t met with enthusiasm by his Samoan family.

 

“In New Zealand the Pacific island culture is a minority and it isn’t huge and had its fair share of knocks,” he says. “We’re normally thought of as unskilled labor and when you finish high school, if you finish high school you’re either going to go on welfare or get a job in the local factory. I tell my parents I wanted to go to dance school. I’ve been working at the bank and was doing rather well but I told them and my mother cried. And my father simply did his traditional Samoan tsk, tsk, tsk shook his head and walked away from me.”

In the end, his parents supported his plan to start a Samoan and Maori contemporary dance company. And during lean times, they even put up their house as collateral for a loan.

Ieremia says that kind of courage is at the heart of the name Black Grace. The risk has paid off.

Neil Ieremia says Black Grace is now the largest contemporary dance company in New Zealand.

__________________________

<p style="font-size:11px; font-family:Arial, Helvetica, sans-serif; color: #808080; margin-top: 5px; background: transparent; text-align: center; width: 600px;">Watch Neil Ieremia, Artistic Director of Black Grace on PBS. See more from The Arts.</p>

 

OP-ED: Johnson: The Movie > ChangeLab

Johnson: The Movie

 

HISTORY: A century after Harriet Tubman died, scholars try to separate fact from fiction > The Washington Post

A century after

Harriet Tubman died,

scholars try to separate

fact from fiction

Linda Davidson/The Washington Post - Board member William Jarmon walks past portraits of Harriet Tubman in the Harriet Tubman Museum and Education Center in Cambridge, Md. on March 5. There are plans for a national historic trail and a state park honoring Tubman and the Underground Railroad. The groundbreaking takes place this weekend on the 100th anniversary of her death.

 

After her death exactly a century ago, Harriet Tubman was relegated to the ranks of children’s literature — more legend than woman, remembered as a Moses who ushered her people to freedom.

Tubman’s bravery during the Civil War was overlooked, while her exploits in the network of forests, private homes and other hiding places that made up the Underground Railroad have often been exaggerated by those wishing to tell a story of courage amid the savagery of slavery.

(Anonymous/Associated Press) - This photograph released by the Library of Congress and provided by Abrams Books shows Harriet Tubman in a photograph dating from 1860-75. Tubman was born into slavery, but escaped to Philadelphia in 1849, and provided valuable intelligence to Union forces during the Civil War.

Today, though, American scholars are developing a deeper understanding of this onetime slave and Maryland native.

“Much like Lincoln, she’s ready for a new rendition,” said Kate Clifford Larson, author of a 2003Tubman biography. “She should be remembered in all of her full dimensions, as a mother, as a daughter, as a wife who got replaced and a woman who [later] married a man who was 20 years younger than she was.” By rediscovering the woman behind the legend, historians aim to offer a better understanding not only of slavery, but also of the power of an individual to make a difference.

Tubman’s birth date on Maryland’s Eastern Shore cannot be definitively established. She lived to be about 90, and her death, on March 10, 1913, has long been held sacred by her admirers. On Saturday, Maryland broke ground on a state park named after her; Congress is considering similar recognition with a national park, which would make Tubman the first African American woman to be so honored.

After decades of prodding, Maryland state officials have christened the Harriet Tubman Underground Railroad ByWay, a road leading from the Eastern Shore to Delaware. Off to the side of the road, in a neck of Dorchester County surrounded by farmland, sits the Bucktown Village Store — a small wooden structure with a pitched roof and creaky porch — and one of the few remaining 19th-century buildings that Tubman is thought to have set foot in.

This year, the Tubman celebrations extend beyond officialdom. On Sunday afternoon, thousands of black women have pledged to walk 100 minutes in her honor in events across the country called “We Are Harriet: A Moving Tribute.” And a banquet Saturday night in Cambridge organized by a group of activists was the “social event of the century,” said Donald Pinder, president of the small but dedicated group that runs the Harriet Tubman Museum and Educational Center in Dorchester.

The late emergence of Tubman as a nationally honored figure speaks to the roles that race, sex and class have long played in American life, say scholars and advocates. Unlike celebrations of civil rights figures, tales of slavery remain less palatable to modern Americans.

“I cannot answer the mystery of why now. I can only say that her ability to capture the imagination begins with the fact that she demonstrated that one person can make such a difference,” said Catherine Clinton, a Tubman biographer and professor of history who called Tubman a “woman who defied simple categorization.”

Sometime around 1820, Tubman was born Araminta “Minty” Ross to enslaved parents in Dorchester, which was then home to 5,000 slaves. Her mother was owned by the Brodess family, white plantation owners who often hired out their slaves. Her father was the property of a neighboring man and worked in the lumberyards.

Tubman never learned to read or write, and details about her life come largely from her abolitionist friend Sarah Bradford, who wrote books to raise money for Tubman and her cause, often embellishing the stories as she went.

As early as age 5, Tubman was sent out to a “Miss Susan” as a caregiver, and she recalled being whipped most every morning. Later, she worked in the fields, where she drove oxen and plowed land, and in the forests, hauling logs. Brodess sold off two of her sisters, an experience she later described to Bradford as wrenching. And Bradford also writes about a head injury that Tubman suffered at the hands of an overseer that left her suffering from seizures and periodic blackouts. During those times, Tubman said, God would speak to her.

Unlike enslaved men and women in the Deep South, Tubman knew many free blacks. She married John Tubman, a free black man living in Maryland, around 1844. Whether or how long they lived together is unknown.

Five years later, when Tubman heard she might be sold off, she walked away to freedom, passing through woods and marshes, some 90 miles to the Delaware state line, and then on to Philadelphia.

“I looked at my hands to see if I was the same person,” Tubman later told Bradford. “Now I was free. There was such a glory over everything, the sun came like gold through the trees, and over the fields, and I felt like I was in heaven.”

Abolitionists claimed there was once a $40,000 bounty on Tubman’s head. But records of wanted ads show that a reward of $50 was offered for her return if she was found in the state of Maryland and $100 outside the state. And Tubman is often depicted as old and stooped, but she was in her late 20s and early 30s while helping others, largely family and friends, escape bondage. Her husband, John, refused to leave with her. He had taken up with another woman.

Tubman told Bradford about having to pull out the revolver she carried to persuade some who followed her north to press on, despite their exhaustion. While pointing it at their heads she would say, “Dead [men] tell no tales; you go on or die!”

True story or exaggeration? Hard to know.

“Serious attention to her life was lacking for a long time,” says Larson, the Tubman biographer, “especially because she could not read or write. When academics are looking for projects, they look for papers.”

The facts of the latter part of her life are sparse. She joined the Union army as a spy, nurse and laundress. She adopted a daughter and married Nelson Davis, a Union soldier, close to 24 years her junior. With the help of her church, Tubman opened a charity home for the elderly in Auburn, N.Y. It was there that she died.

By that time, Bradford’s telling was already the dominant narrative. In 1886, Bradford had published an extended biography claiming that Tubman had “succeeded in piloting” 300 or 400 people to the North in 19 trips to slave states “after her almost superhuman efforts in making her own escape from slavery.”

Larson believes Bradford “made up those numbers because she thought she had to embellish what Tubman did.” Larson’s research found Tubman personally rescued between 70 and 80 people in 13 trips to slave territory, documented through letters from her friends, oral histories and land records.

Go to Cambridge, which remains a sleepy town, and you’ll find the Harriet Tubman Museum and Educational Center, where a local art teacher has painted a colorful mural of Tubman, and photographs of her adorn the wall. Docents and volunteers tell stories of the black community’s connection to their heroine.

Her name was invoked here in the 1940s to raise money for an ambulance for use in the black part of town. Later, the black community began celebrating Harriet Tubman Day around Juneteenth on the grounds of Bazzel Church, an old wooden edifice where blacks worshipped during slavery.

With the beginning of construction on the visitors center at the new state park in Dorchester, excitement about Tubman is palpable.

“It all comes together in a way to celebrate the courage of a person who is an inspiration,” said Sen. Benjamin L. Cardin (D-Md.), who has also been a forceful backer of naming a national park after Tubman.

One place that transports visitors back a century and a half is the Bucktown Village Store, which is owned by Dorchester natives Susan and Jay Meredith, who operate the tourism business Blackwater Paddle and Pedal — renting out bicycles, canoes and the like. The Merediths are the fourth generation of their family to operate the general store, which they call the site of “the first known act of defiance in the life of Harriet Tubman.”

Step onto the wooden porch and through the heavy door and see shelves lined with artifacts: chamber pots, wooden duck decoys, old coffee cans. Beneath the glass are metal slave tags purchased on eBay and heavy shackles.

There is also a rusted metal weight, which Susan Meredith holds in her hand as she tells a story about the woman she calls “Minty.” “She was being leased out to farmers so she was working in the flax field. She said her hair looked like a bushel of flax. Master comes and says, ‘Minty go to the store.’ Like any woman, she said, ‘Ain’t no way I’m going with my hair looking like this.’ She put her Misses shawl on her head and headed to the store.”

It’s hard to believe an enslaved woman would drape her head with a shawl that belonged to her owner, but Meredith energetically continues her story.

Minty is in the store, and an overseer comes in chasing a enslaved boy who has walked off the field. Tubman refuses to help the overseer detain the boy. (On this point historians agree.) The overseer hurls the lead weight, “accidentally” hitting Tubman in the head, Meredith says with conviction, though there is some dispute about whether the incident was an accident.

“If this park revolves around inspiration and family and tradition, you’ll get everyone to come. But if you tell the things we already know about slavery, you’re not going to have many people,” Meredith says. “People aren’t going to come to be sad.”

But there is sadness in Bradford’s telling; she wrote that Tubman’s “master . . . in an ungovernable fit of rage threw a heavy weight at the unoffending child, breaking in her skull, and causing a pressure upon her brain.”

 

Moving beyond happy children’s stories to look slavery in the face and conjure up the fearlessness Tubman must have possessed is — in fact — the draw, says Morgan Dixon, the co-founder of GirlTrek, a District-based organization that promotes fitness among black women.

The image of Tubman walking away from slavery undergirds GirlTrek’s “We are Harriet” walk on the anniversary of her death. More than 13,000 women, many walking alone, will participate.

The idea was born five years ago when Dixon got in her car and drove to the Eastern Shore looking for signs of Tubman.

Dixon ended up at the Bucktown store. She sat inside, thinking about Tubman getting knocked in the head and later walking through forests. It was there that Dixon began to think of Tubman as a physical being, not a storybook character — a woman who felt fear, pain and unyielding resolve.

“Harriet Tubman was a woman just like us,” Dixon says. “One woman who was radically connected to herself and to God takes it upon herself — with this core value of self reliance — to really walk in the direction of her best life.”

It is this Harriet that Dixon will have in mind as she walks Sunday. It is that Harriet Tubman, redrawn to reflect reality, that historians hope will resonate with people seeking to understand her legacy and the era in which she lived.

 

VIDEO: GRAMMY Award Winner Robert Glasper Experiment In Concert! [2+ hours of video] > Elements Of Jazz

GRAMMY Award Winner

Robert Glasper Experiment

In Concert! [2+ hours of video]

Did you have a great week? Do you need to unwind? Check out the following four videos of the Robert Glasper Experiment performing at London's iTunes Festival in September 2012. 

Piano: Robert Glasper 
Drums: Mark Colenburg 
Bass: Derrick Hodge 
Sax/vocoder: Casey Benjamin

Special guests include Lionel Loueke, Bilal, Lalah Hathaway, Alan Hampton, Patrick Stump of Fall Out Boy, Phonte and MF Doom.

The first video (Part 1 of 4) is below. You have to hit Click to read more... to view the other three vids. Thank you!

 

AUDIO: Talib Kweli, Jean Grae, Pharaohe Monch, and De La Soul – Live at London’s Jazz Cafe 2007 > Funk It »

Talib Kweli, Jean Grae,

Pharaohe Monch,

and De La Soul

– Live at London’s

Jazz Cafe 2007

Talib Kweli & Jean Grae
July, 2007
London, England @ The Jazz Cafe
FM/SBD (BBC broadcast 9/30/07) > MP3 > WAV > CDR > EAC > WAV > MP3

DOWNLOAD MP3

Radio Intro
Jean Grae: The Jam, Baby I’m Not The One, #8, ???
Talib Kweli: Where It Started At, Say Something (ft. Jean Grae), Eternalists, Old School, Broken Glass, Over The Counter, Funny Money, Definition, Respiration, Too Late, Hot Thing (verse 3 acapella, aborted), Listen!!, The Blast, More or Less, Move Somethin’, Get Em High, Get By
Encore: New York Shit (ft. Jean Grae), NY Weather Report, We Got The Beat, Black Girl Pain (ft. Jean Grae)
Radio Outro

===================================================================

Pharoahe Monch
June 10, 2007
London, England @ The Jazz Cafe
FM/SBD (BBC broadcast 9/30/07) > MP3 > WAV > CDR > EAC > WAV > MP3

DOWNLOAD MP3

Radio Intro, Right Here, Agent Orange, When The Gun Draws, R.I.P. Jam > Love, My Life, Push, Desire, Body Baby, Rehab [Amy Winehouse cover], Stakes Is High (ft. De La Soul), Radio Outro

Pharoahe Monch

 

 

PUB: Call for Submissions Worldwide: Write for Light Anthology (for the benefit of Light for Children Ghana) > Writers Afrika

Call for Submissions Worldwide:

Write for Light Anthology

(for the benefit of

Light for Children Ghana)

Posted 11 March 2013 | Write for Light is a creative writing programme that is open to everyone. There is only one thing that we want you to do, and that is to write a short autobiographical story based on the following prompt:

Tell us about a time in your life when you found light in the darkness.

Your true story could be about a time when you:

  • Overcame an obstacle.

  • Achieved something against all odds.

  • Felt hopeless but you found hope.

  • Were nervous but you found courage.

  • Thought everything seemed to be going wrong but turned out alright in the end.

  • Surprised someone with your abilities and inner strength to succeed.
It is entirely up to you how you answer the question! Your story should be around 500 words in length (one A4 page), however, longer submissions are more than welcome.

All of the money raised from the books we publish (with your stories in) will go directly to Light for Children Ghana to help them build an education centre in Kumasi, Ghana.

SUBMISSION GUIDELINES:

We want Write for Light to be open and available to as many people as we can. That is why we have tried to make the submission process as easy and straightforward as possible. It is worth noting that we will accept stories from all ages and from all over the world. However, participants under the age of 18 will need consent from a parent or guardian to submit their story.

Here are the guidelines for a successful submission:

  • Your story must be submitted as a Word or PDF document.

  • It should be at least 500 words (longer submissions are welcome).

  • It must be a true story and your own work.

  • The work must not already be available in an existing publication.

  • You need to give your story a title.

  • Your story must be a response to the prompt – ‘Tell us about a time when you found light in the darkness’.
We also require you to attach a Submission and Copyright Release Form along with your story. This will tell us who wrote the story and ensure that we can go ahead and publish your work in our book.

If you have any further questions then feel free to contact us or visit the FAQ page where your question may already be answered.

CONTACT INFORMATION:

For submissions: via the Submit a Story page

Website: http://writeforlight.com

 

 

PUB: Urgent: Call for Submissions: TFW forum on “Race, Racism, and Anti-Racism within Feminisms” > The Feminist Wire

Urgent: Call for Submissions:

TFW forum on “Race, Racism, and

Anti-Racism within Feminisms”

March 10, 2013
By

In 1979, Black socialist feminist lesbian writer, scholar, and organizer Barbara Smith stood in front of the National Association of Women’s Studies and said the following,

Feminism is the political theory and practice that struggles to free all women: women of color, working-class women, poor women, disabled women, Jewish women, lesbians, old women–as well as white, economically privileged heterosexual women. Anything less than this vision of total freedom is not feminism, but merely female self-aggrandizement. (Smith, “Racism and Women’s Studies,” 1979).

Recent critiques of “white feminist” silence surrounding the misogynist attack against nine-year old actress Quvenzhané Wallis, coupled with – what seems to be – a ubiquitous and ever-growing culture of indifference regarding violence against women of color in general, and “white feminist” taciturnity and/or insensitivity in light of the same, in particular, gives much pause. These realities and critiques call on us to revisit Smith’s vision for feminism as a critical site of total freedom—for everyone.

It is abundantly apparent that “feminism” unmodified has not shown itself to be accountable to the necessary anti-racist project that is required for the liberation of all people. That is, “feminism” unmodified has remained tangibly accountable to “white, economically privileged, heterosexual women” while people of color continue to struggle over whether to even use the word “feminist,” or modify it to reflect the racialized communities they are accountable to through their feminist work(s). Simultaneously, white anti-racist feminists must identify aswhite anti-racist feminists in order to distinguish their work as accountable to communities of color.

All of this begs the question(s): Does feminism unmodified actually signify white, racist, capitalist, careerist etc. etc. feminism, or in other words “female self-aggrandizement”? Does feminism unmodified work to free all women? If so, how? And if not, why? And finally, what might an unmodified feminist theory and practice, which honors Smith’s definition, look like?

None of these concerns are new, of course. Our present moment, marked by high racial tensions within feminism, violence against women in general and women of color in particular, and critiques of feminist silences, self-aggrandizement, and totalization, requires us to pause, take note, and create critical spaces for addressing the circulation of the term “feminism” (unmodified) and its relationship to race, racism, and anti-racism.

This forum, convened by The Feminist Wire asks us to re/think and re/work the functionality of race within feminist movements, communities, theories, and projects. What models do we have for a feminism that is accountable to what Barbara Smith calls a “vision for total freedom”? How can anti-racist feminists grow their allyship and support other feminists in becoming anti-racist? How might we both critique and move beyond the black/white feminist binary, and deconstruct and reimagine the nuances within each in the process? What is the role of feminists of color in educating white feminists on these issues? And what might feminists of color learn in the process?

If we can end racism within our feminists movements, we might just be able to use feminism to end racism in the wider world. All of us have plenty to learn. Will you join us at the table and have an open, honest, and necessarily risky dialogue? Please submit unpublished critical essays, stories, research briefs, creative works, or “love notes” to Submittable by March 31, 2013. Please also include a brief bio and photo. Finally, please mark your submission “race and feminisms” so that we can easily identify it.

 

You know what critical essays and stories are, but perhaps you’re wondering what a “love note” is? In these times of growing skepticism and mounting critique rightly aimed at the myriad forms of structural conditions that negatively impact women and children around the world, we recognize the need for self-care and acts of love-making within our communities. Thus, “Love Notes” is a space that exists on TFW where we can counteract the violence of oppressions through offerings of praise, support, solidarity, and love. It is a radical space where we, for once, seek to forego the use of the “master’s tools” (i.e. war; in-fighting; communal dissolution; hatred; separation; and prejudices) by employing a different and revolutionary tactic, namely, love.

We hope this forum will be a constructive intervention, not a reinvention of the same ole tired wheel. We’re interested in historicizing the tensions re: the race/gender/sexuality divide in feminism. However, we’re also interested in inclusivity and nuance; differences among, between, and within feminisms. We are particularly interested in trans-national works that cross multiple complex socio-political and geographic “borders,” to include but certainly not limited to works by Black, Mujerista, Chicana, African, White, Palestinian, Muslim, Asian, Womanist, and other feminists. We’re also interested in intersectional conversations that include class, sexuality, (dis)ability, and other identities alongside race and ethnicity.

In the words of sister Lorde…

[We] cannot afford the luxury of fighting one form of oppression only. [We] cannot believe that freedom from intolerance is the right of only one particular group. And [we] cannot afford to choose between the front upon which [we] must battle these forces of discrimination, wherever they appear to destroy [us]. And when they appear to destroy [us], it will not be long before they appear to destroy you… (Lorde, “There Is No Hierarchy of Oppressions,” 1983).

We look forward to receiving your submissions.

Sincerely, TFW Collective

 

PUB: Call for Papers: Sargasso—“Global Cuba/Cuba Global” > Repeating Islands

Call for Papers:

Sargasso—“Global Cuba/Cuba Global”

SARGASSO, a Journal of Caribbean Literature, Language, and Culture published at the University of Puerto Rico-Río Piedras invites submissions for an upcoming issue entitled “Global Cuba/Cuba Global: Worldly Perspectives from the 21st Century.” The deadline for submissions is June 15, 2013.

Description: The Sargasso team seeks interdisciplinary academic papers, short fiction, poetry, and visual art that (re)mediates, (re)formulates and/or (re)affirms Cuba’s varied interactions with and approaches to the world today.

How do explorations of twenty-first century Cuba in global relief allow us to rethink the island, the Caribbean region, and comparative area studies more broadly? In counterpoint to insular approaches, recent initiatives within and beyond the island seek to address Cuba’s historical, cultural, and political experiences through global perspective. At upcoming conferences, University of Havana’s Transatlantic Studies Group calls for re-elaborations of Cuba’s myriad transatlantic contacts and interactions; Miami’s Cuban Research Institute at Florida International University seeks comparative study of Cuba’s diaspora with other dispersed peoples from across the globe. These explorations offer parallel alternatives to reified discourses of political allegiance and physical territory as markers of Cuban identities, opening Cuba to trans- local, national, and regional discussion simultaneously. To both celebrate and further expand these interrelated interests, this volume of Sargasso will examine the ways twenty-first century Cuban culture, society, language and/or history may be read, (re)interpreted, and/or (re)examined through global interrelation. While the volume foregrounds twenty-first century issues and perspectives, comparative explorations with other historic time periods are welcome.

Possible themes include, but are not limited to: Cubanía redux; Cuba and the Arab Springs; Cuba and relief efforts in Haiti; Challenges to migration, movement, and relocation; Digital media/digital Cuba; Global modernity, capitalism, and homogenization; Economic a/symmetries of Cuba and China; New directions of sincretismo; Twenty-first century portability; Constructions of gender, desire, and sexuality; Linguistic affirmations and protests; Cuba, reggaeton and popular music; Environmentalism and food security; and Tourism and Travel.

Essays should be in English, Spanish, French, or Papiamentu, 10-20 pages, and double-spaced. Abstracts of 120 words or less should accompany essays. BandW photos, illustrations, and other graphics may be included. Book reviews of 1,000 words in length are also welcome. Essays and reviews must conform to Sargasso’s style guide. Submissions should be digital in Word or Rich Text Format. Electronic submissions and inquiries should be directed to: sargassocuba@gmail.com.

Sargasso is a peer-reviewed journal edited at the University of Puerto Rico, Río Piedras for 30 years. The journal features work on the languages, literatures, and cultures of the Caribbean and its multiple diaspora.

For more information, visit http://humanidades.uprrp.edu/ingles/pubs/sargasso.htm.