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dj rahdu - Covers 8

DJ Rahdu – Covers 8

Like a cool glass of lemonade on a warm Southern Summer’s afternoon, Covers 8 is the perfect, refreshing tonic for your hectic day! Covers 8 contains remakes of some of my personal old and new favorite tunes; Everyone from Gil Scott Heron and War to N.E.R.D. and Schoolboy Q is represented by an artist affected by their music. Kick off your heels or loafers, pop in your earbuds, enjoy their take, download and spread the word. Thanks for listening.

Columbia Nights – Didnt Cha Know
Jordan Bratton – I Knew You Were Trouble
Mark Evich – Studio
Kevin Ross x Kirby Lauryen – Nothing Even Matters
The Internet – Tape you
Andra Day – No Makeup
Kandace Springs – The World is a Ghetto
AAries – Dont Ask My Neighbor
Brandee Younger – Wax & Wane
Next Collective – Marvin’s Room
BJ the Chicago Kid – Send it On
Nuyorican Soul – I Am the Black Gold of the Sun feat Jocelyn Brown
Durand Bernarr – Holding Back the Years
The Rebirth – Evil Vibrations
Esther Phillips – Home is Where the Hatred Is
Solange – Stillness is the Move




photo by Alex Lear

photo by Alex Lear



Emilio Santiago


I woke up, slowly, or I thought I woke up. Maybe I was still dreaming. Next thing I knew I had quit my job at the factory, and at the office, and on the assembly line and I was sitting on the warm ground with my father fishing in City Park. We both had on freshly washed jeans and old shirts. His had a torn pocket and a hole in the left sleeve, mine had chocolate milk stains on it from that morning when I went to drink the milk and missed my mouth.


My dad was showing me things he never showed me when he was alive, or maybe it was things he showed me but things somehow I was unable to see then even though he tried to show me. I smile as I see myself learning stuff from my dad. I was 13 and I was learning how to smile like a man.


When the sun started going down we walked home. He walked slowly enough that I could keep up without rushing. I was holding the poles and the empty bucket, we had released all the fish we caught. Daddy had said there was no need to take what we didn’t need, we had food at home. I asked him why had we come fishing then, and he put his arm around my shoulder, loosely around my shoulders, and kissed me on the nose.


Fully awake now, I look over at you. You are still sleeping. The windows in our room are shaded but the morning light is spread around the edges like the crust on bread. You make a very light whistling sound as you inhale while sleeping. I don’t want to turn the TV on. I don’t want to see anymore hostages. If I turn the tv on I will become a hostage too. What does your mother think of me now? I am in the middle of my life and there are no bells on my shoulders, no post graduate degrees on my wall.


I can hear the traffic in the street outside. Where do people think they are going? I wish everyday I could go somewhere I’ve never been before, touch the doors of houses I’ve never entered, walk in the wash of seas that have never wet me. I start to wake you and ask you the last time we walked along in the park wandering hand in hand through the flock of ducks or when was it I most recently kissed you in public. Over all I’m pretty satisfied with our furniture, it’s just the nagging thought that we didn’t really need a leather sofa and glass topped coffee table to be happy, but it’s just a thought.


I see the shape of you beneath the thin sheet pulled up almost to your shoulders. The radio has come on automatically, and as the jazz filters into the room and into my consciousness I realize it’s on WWOZ and someone is on the radio saying that this is a gorgeous Monday, that Mondays are the best days of the week. I look at him queerly. The music is nice.


Suddenly there is this sound, this song that doesn’t quite sound like the average song, it sounds so, so, so I don’t know, so lonely, no not lonely, so incomplete, unfinished. It sounds like he is in my head, or I mean that music is music that is inside me, and somehow he saw it. Did my father tell him to play this music? And then the track is over. I listen for who the artist is and the DJ calls my name, but I never made any music. I never made the music I wanted to, maybe he is trying to tell me something.


The next song that plays is a ballad in some language I don’t recognize but I clearly see myself singing this foreign song on a red tiled patio early in the morning with five freshly cut yellow roses in my hand.


I stand up to listen to the music better. Both my hands are on top of my head with my fingers interlaced. I am nude. You wake up. I can feel you watching me. My eyes are closed.


When the song ends you ask me what am I thinking. I tell you I don’t know and you kiss my hand, the hand with which I reached down to touch your thick dark brown hair.


Is this still a dream? No, my fingers are wet where you kissed me. The music is filling our bedroom. Maybe I am supposed to be an artist. Finally I tell you as much of the truth as I am able to understand at this moment, “I was just listening to that music and it made me think about a lot of things I’ve always wanted to do….”


—kalamu ya salaam














Aida Overton Walker, born in 1880. She was a singer, dancer, actress, and choreographer, regarded as the leading African-American female performing artist at the turn of the century. As one of the first international Black stars, Aida Walker brought versatility to her performances and authenticity to ragtime songs and cakewalk dances. Her dancing and singing ability has been compared to and sometimes applauded over that of her successors Florence Mills and Josephine Baker.






JUNE 16, 2016

JUNE 16, 2016
















No, Oscar Micheaux wasn’t the first, because I’m only considering books that have been optioned and adapted by Hollywood studios; not independently-financed projects.

Searching for an answer to the question of what the first book adapted by a Hollywood studio was, I went through a few books of my own that cover black film history, notably works by Donald Bogle, bell hooks, Manthia Diawara, Ed Guerrero, and others. And I think I found the answer within the pages of Guerrero’s “Framing Blackness: The African American Image In Film” (a recommended read if you haven’t read it already).

On page 28, in the chapter titled “Hollywood’s Inscription of Slavery,” Guerrero mentions a 1946 book by African American author, Frank Yerby, titled, “The Foxes of Harrow.”

Guerrero doesn’t explicitly state that the book is indeed the first by a black author to be adapted by a Hollywood studio (20th Century Fox in this case), so I wasn’t immediately certain. Naturally, I looked up Yerby and the book, to find mentions on a number of sites (Wikipedia, IMDB, The New Georgian Encyclopedia, and others) that all say Yerby was the first African American author to see his work adapted to film by a Hollywood studio.

Foxes oif Harrow

I dug a little further looking for any information that would challenge this, but, thus far, no luck. So I’m going to continue to run with the claim that Frank Yerby’s “The Foxes of Harrow” was the first book by a black author to be adapted to film by a Hollywood studio.

So what’s this book about?

Well, first, it’s worth noting that it was a best-seller; it centered on “an Irish rascal and inveterate gambler who wins a vast estate while gaming in New Orleans.”

In 1947 John M. Stahl directed a film based on the book, which starred Rex Harrison and Maureen O’Hara. It was nominated for an Academy Award for Best Art Direction.

The novel the film is based on appears to be out of print, although you can buy early editions from resellers via, as I learned.

As for the film, it wasn’t readily available for years; I recall Amazon had a Spanish version, in region 2.

Finally, as I recently learned, 20th Century Fox released several never-before-released on home video titles from the Fox Cinema Archives, that the studio made available on DVD for the first time ever.

And one of the titles listed is “The Foxes Of Harrow” (1947, 118 Minutes). So you can now buy an official copy at several retailers, including Amazon.

Clearly, the book’s story isn’t centered on black people, which would partly explain studio interest at the time. As for its content… in Ed Guerrero’s book, he praises the film (not necessarily Yerby’s book), as one of a number of 1940s movies that “increasingly sensitized Hollywood to the African American perspective on slavery…” He highlights 2 scenes from the film as examples of an “undercurrent of… cultural resistance to slavery and Christianity.”

In the first, slaves are shown practicing a voodoo ceremony; and in the second, a black mother throws herself and her baby into a river to avoid having to go on living in slavery (almost as if addressing the scene from “Birth of a Nation,” when the white woman jumps off a cliff to avoid submitting to a black man).

So clearly, there were subplots involving black people. But, as I said, that was the movie adaptation, not the book.

With regards to the book, I found this piece in the New Georgian Encyclopedia: “Yerby was often criticized by blacks for the lack of focus on, or stereotypical treatment of African American characters in his books. Thus, ironically, while Yerby held the distinction of being the first best-selling black novelist, he also became one of the most disparaged for his lack of racial consciousness.”

In response to this criticism, Yerby argued that “the novelist hasn’t any right to inflict on the public his private ideas on politics, race, or religion.” As my research tells me, he later amended this stance to a degree, and in the late 1950s and 1960s, he wrote novels that touched upon issues of race and racism.

This is a conversation that black artists and black audiences and critics continue to have today – specifically, whether a black artist is in any way obligated to tell stories that tackle issues of importance to the black community, or whether their work should be message-driven, demonstrate “racial consciousness,” etc, or whether black creatives should be free to create whatever they want to, whether it’s a nonsensical comedy, or action film, with no specific agenda other than to entertain, or a more *serious* film with a definite message or call to action; and everything else between (or beyond).

Yerby died in 1991 by the way. He was 75 years old. The above photo of him was taken in 1983.

Reminded of this, I purchased a copy of the film; you can do the same here or click on the DVD cover below.








December 29, 2016

December 29, 2016







25 Essays

Against Whitelash


2016 has been the year of “whitelash.” Racism, populism, and xenophobia have had the last word at the ballot box. But as the media quibbles over the reasons behind Trump’s election, the fears of the white working class have become the main point of contention.

While economic inequality has played a significant role in the events of 2016, the dismissal of race as mere “identity politics” obscures the ongoing struggles of America’s black, Muslim, undocumented, and minority communities. With this in mind, we present you with a selection of BR essays from 2016 that speak to their struggles.

Trump Says Go Back,
We Say Fight Back

Robin D. G. Kelley
The economic anxieties of Trump’s voters are inseparable from whiteness and racism.



To Remake the World:
Slavery, Racial Capitalism,
and Justice

Walter Johnson
What if we use the history of slavery as a standpoint from which to rethink our notion of justice today?




Black Study, Black Struggle
A forum by Robin D. G. Kelley, Derecka Purnell, Randall L. Kennedy, Keeanga-Yamahtta Taylor, Christopher Lebron, Barbara Ransby, Shana L. Redmond, Charlene Carruthers, Aaron Bady, Michael Eric Dyson, Amanda Boston, Bridget Todd, and Thabisile Griffin
The university is not an engine of social transformation. Activism is.




Paying for Punishment
Donna Murch
Debt now sends many people—especially black people—to jail.




“Go Home!”
Being Foreign in Post-Brexit Britain

Andrea Mammone
For many, the Brexit vote means the end of home as they know it.




On Stone Mountain:
White Supremacy and
the Birth of the
Modern Democratic Party

Christopher Petrella
The Clinton-era Democratic Party was founded on the promise of racial oppression.




What Does Black Lives Matter Want?
Robin D. G. Kelley
The Black Lives Matter manifesto is a plan for ending structural racism and transforming the entire nation—not simply black lives.




Writing Human Rights and
Getting It Wrong

Alex de Waal
The West likes morality plays with clear heroes and villains, in which it plays savior.




The Racist Dawn of Capitalism
Peter James Hudson
Recent histories of slavery and capitalism ignore radical black scholarship and its lessons.




How the Government Built a Trap
for Black Youth

Kelly Lytle Hernández
Throughout the twentieth century, bipartisan consensus was that black youth were latent criminals in need of abundant policing.




From “War on Crime” to
War on the Black Community

Elizabeth Hinton
On the enduring impact of President Johnson’s Crime Commission.




The Roots of Black Incarceration
Joy James
A nineteenth-century memoir sheds light on the origins of the modern prison.




Trump’s Call for Dystopian Policing
Victor Ray
Stop-and-frisk and broken-windows policing have ravaged black communities. Now Trump wants to revive them.




Lynching by Any Other Name
Christopher Lebron
The use of lynching laws to suppress black activists is a betrayal of American democracy and freedom.




Black Nationalism and Liberation
Garrett Felber
To many black nationalists, separation from whites is the difference between life and death.




Racial Violence in Black and White
Benjamin Balthaser
Images of police violence against African Americans have a radical heritage.




The Souls of White Folk:
Talking Social Justice and
Reparations Under Trump

A podcast by Walter Johnson
What can the black radical tradition teach us about political action today?




I Can’t Breathe
Anne Fausto-Sterling
Black people get sicker because of stereotypes taught in medical schools.




The Invisibility of Black Women
Christopher Lebron
Black women go missing: from civil rights history and from our lives.




Identity and the Avant-Garde
David Micah Greenberg
In art, formal experimentation is considered the antithesis of identity politics.




No Place to Call Home
Steve Healey
Two poets explore the poetics of war, exile, and migration, pushing the boundaries of American literature.




The Preservation of the White Race
Christopher Petrella
Contrary to popular belief, America has a long history of racial and ethnic registries, quotas, and camps.




Under Western Eyes
A podcast by Aziz Rana and John Bowen
Islamophobia is a joint project of the Democrat and Republican parties, long preceding the rise of white nationalism and Trump.




Cuba After the Thaw
Michelle Chase
Renewed U.S. relations may worsen inequality for Cuba’s black citizens.




On Ice
Colin Dayan
Undocumented immigrants face inhuman conditions in U.S. detention, with little legal recourse.















“…you had the kind of hands that moulds women into sad plots…”

“…you had the kind of hands that moulds women into sad plots…”


Some households ask that you leave your shoes at the front door before you enter.

My friend’s cousin asked that I do the same with my feminism.

Did he not know that my knees no longer knew how to bow down to the myth that women fell out of their mothers’ wombs to exist as mere ash,

And men the relentless raging fires?

And so I said:
“I am whole and finally do not know how to be otherwise, so I won’t be leaving pieces of myself out on any doorstep.”

“You are the kind of woman that men run away from, and hardly ever towards.”

“Then it is men that I will pray for the most at night.”


“Luke 23:34.”


“I said, Luke 23:34.’’

“‘Father, forgive them for they do not know what they are doing.’ Get to the point.”

Father, forgive them for they do not see that they have made warm homes out of prisons.

Father, forgive them for they do not yet see that it is the invisible shackles that are the deadliest.



Post image by Daniel Lobo via Flickr.




Letlhogonolo Swaratlhe is from Johannesburg, South Africa. She is a young robust feminist on a continuous journey of learning and relearning how to be whole, a ‘baby academic’ who holds a BA degree in Politics, Philosophy and Economics, and is currently studying towards an Honours degree in Philosophy, with interests centered around African ethics and the African aesthetic experience. She has made a religion out of words—written and spoken.





Jun 2, 2015

Jun 2, 2015





115 Films By and About

Women of Color, and

What We Can Learn

From Them

The response was overwhelming after we posted the original list of 84 Films By and About Women of Color, which came from a recent Twitter conversation led by director Ava DuVernay. Not only was the list shared far and wide, but lots of readers weighed in with more film suggestions to add.

After tallying up the additional titles, not only has the list grown to 115 women-directed films about women of color, but there are also a number of insights we can draw from the data. 

To be clear, the list itself isn’t comprehensive and doesn’t claim to represent every woman-directed film about women of color; there would be too many to name. Rather, consider it a solid reflection of people’s tastes. The original call was to “name three films you like with black, brown, native or Asian women leads” that were also directed by women. So the response online tells us a great deal about the films that general movie fans watch, like and remember. 

You could say that the original list of 84 films reflects which movies had an impact on Hollywood and the US independent film scene, since the call came from a well-known US-based filmmaker. In order to come up with titles beyond the original 84, many of you looked to films made overseas, in nations where people of color are the majority.

It’s interesting to note which directors were listed multiple times; names like Mira Nair, Gina Prince-Bythewood and Grinder Chadha came up more than once as women who have built careers on telling the stories of women of color, and whose films have made money over the years.

And of note, we’re looking only at feature-length, scripted films directed by women. Of course there are lots of important documentaries made by and about women of color, arguably many more than narrative features due to the cost and means of documentary production. So again, there would be too many documentaries to name here. There’s also the fact that many docs focus on groups of people, societal systems, or eras in history rather than individual protagonists, which makes it tougher to classify which documentaries are “led by women of color.” But it may be worth a separate discussion on docs in the future. 

For now, here’s the updated list of 115 women-directed films with black, brown, native and Asian women leads. Most of the titles from the past decade are available on cable, DVD and/or Netflix. Although still in beta, the MPAA’s database is a good place to start your search for each movie. For older, indie or lesser-known titles, media organizations like Third World Newsreel and Women Make Movies are great resources to locate these films. And still more of these films aren’t available from major retailers or distributors. “Naturally Native,” for example, couldn’t be found through a mainstream distributor, but the film still has a website where you can order it directly from the filmmakers. It may take some hunting to find some of these titles, but it’s certainly worth the time. 

So there you have it. Watch, enjoy and most importantly, support! 

35 Shots of Rum by Claire Denis (2008)

A Different Image by Alile Sharon Larkin (1982)

A Girl Walks Home Alone at Night by Ana Lily Amirpour (2014)

A Tale of Love by T. Minh-ha Trinh (1995)

Advantageous by Jennifer Phang (2015)

Ala Modalaindi by Nandini Bv Reddy (2011)

All About You by Christine Swanson (2001)

Alma’s Rainbow by Ayoka Chenzira (1994)

Appropriate Behavior by Desiree Akhavan (2014)

Aya of Yop City by Marguerite Abouet  (2013)

B For Boy by Chika Anadu (2013)

Bande de Filles (Girlhood) by Céline Sciamma (2014)

Belle by Amma Asante (2013)

Bend it Like Beckham by Gurinder Chadha (2002)

Bessie by Dee Rees (2015)

Beyond the Lights by Gina Prince-Bythewood (2014)

Bhaji on the Beach by Gurinder Chadha (1993)

Camila by María Luisa Bemberg (1984)

Caramel by Nadine Labaki  (2007)

Chutney Popcorn by Nisha Ganatra (1999)

Circumstance by Maryam Keshavarz (2011)

Civil Brand by Neema Barnette (2002)

Compensation by Zeinabu irene Davis (1999)

Daughters of the Dust by Julie Dash (1991)

Des étoiles (Under The Starry Sky) by Dyana Gaye (2014)

Descent by Talia Lugacy (2007)

Double Happiness  by Mina Shum (1994)

Down in the Delta by Maya Angelou (1998)

Drylongso by Cauleen Smith (1988)

Earth by Deepa Mehta (1998)

Elza by Mariette Monpierre (2011)

Endless Dreams by Susan Youssef (2009)

Eve’s Bayou by Kasi Lemmons (1997)

Fire by Deepa Mehta (1996)

Frida by Julie Taymor (2002)

Funny Valentines by Julie Dash (1999)

Girl in Progress by Patricia Riggen (2012)

Girlfight by Karyn Kusama (2000)

Goyangileul butaghae (Take Care of My Cat)
by Jeong Jae-eun (2001)

Habibi Rasak Kharban by Susan Youssef (2011)

Hiss Dokhtarha Faryad Nemizanand (Hush! Girls Don’t Scream)
by Pouran Derahkandeh (2013)

Honeytrap by Rebecca Johnson (2014)

How The Garcia Girls Spent Their Summer by Georgina Reidel (2005)

I Can’t Think Straight by Shamim Sarif (2008)

I Like It Like That by Darnell Martin (1994)

I Will Follow by Ava DuVernay (2010)

In Between Days by So-yong Kim (2006)

Incognito by Julie Dash (1999)

Introducing Dorothy Dandridge by Martha Coolidge (1999)

Invisible Light by Gina Kim (2003)

It’s a Wonderful Afterlife by Gurinder Chadha (2010)

Jumpin Jack Flash by Penny Marshall (1986)

Just Another Girl on the IRT by Leslie Harris (1992)

Just Wright by Sanaa Hamri (2010)

Kama Sutra by Mira Nair (1996)

Lady With a Sword by Kao Pao-shu  (1971)

Long Life, Happiness & Prosperity by Mina Shum (2002)

Losing Ground by Kathleen Collins (1982)

Love & Basketball by Gina Prince-Bythewood (2000

Love the One You’re With by Patricia Cuffie-Jones (2015)

Luck By Chance by Zoya Akhtar (2009

Mi Vida Loca by Allison Anders (1993)

Middle of Nowhere by Ava DuVernay (2012)

Mississippi Damned by Tina Mabry (2009

Mississippi Masala by Mira Nair (1991)

Mixing Nia by Alison Swan (1998)

Monsoon Wedding by Mira Nair (2001

Mosquita y Mari by Aurora Guerrero (2012)

Na-moo-eobs-neun san (Treeless Mountain) by So-yong Kim (2008)

Naturally Native by Valerie Red-Horse (1998)

Night Catches Us by Tanya Hamilton (2010)

Nina’s Heavenly Delights by Pratibha Parmar (2006)

Paju by Chan-ok Park (2009)

Pariah by Dee Rees (2011)

Peeples by Tina Gordon Chism (2013)

Persepolis by Marjane Satrapi  (2007)

Phat Girlz by Nnegest Likké (2006)

Picture Bride by Kayo Hatta (1994)

Radiance by Rachel Perkins (1998)

Rain by Maria Govan (2008)

Real Women Have Curves by Patricia Cardoso (2002)

Saving Face by Alice Wu (2004)

Second Coming by Debbie Tucker Green (2014)

Sita sings the blues by Nina Paley (2008)

Something Necessary by Judy Kibinge (2013)

Something New by Sanaa Hamri (2006)

Song of the Exile by Ann Hui (1990

Still the Water by Naomi Kawase  (2014)

Stranger Inside by Cheryl Dunye (2001)

Sugar Cane Alley/Black Shack Alley by Euzhan Palcy (1983)

The Kite by Randa Chahal Sabag (2003)

The Rich Man’s Wife by Amy Holden Jones (1996)

The Rosa Parks Story by Julie Dash (2002)

The Secret Life of Bees by Gina Prince-Bythewood (2008)

The Silence of the Palace by Moufida Tlatli (1994)

The Watermelon Woman by Cheryl Dunye (1996)

The Women of Brewster Place by Donna Deitch (1989)

The World Unseen by Shamim Sarif (2007)

Their Eyes Were Watching God by Darnell Martin (2005)

Things We Lost in the Fire by Susanne Bier  (2007)

Ties That Bind by Leila Djansi (2011)

Toe to Toe by Emily Abt  (2009)

Wadjda by Haifaa Al-Mansour (2012)

Water by Deepa Mehta (2005)

Whale Rider by Niki Caro  (2002)

What’s Cooking? by Gurinder Chadha (2000)

Where Do We Go Now? by Nadine Labaki  (2011)

Whitney by Angela Bassett (2015)

Woman Thou Art Loosed: On The 7th Day by Neema Barnette (2012)

Women Without Men by Shirin Neshat (2009)

Woo by Daisy von Scherler Mayer (1998)

Xiu Xiu: The Sent-Down Girl by Joan Chen (1998)

Yelling to the Sky by Victoria Mahoney (2011)

Yo, la peor de todas (I, The Worst of All) by María Luisa Bemberg (1990)

Young and Wild by Marialy Rivas (2012)


jai tiggett is a writer, content creator and curator. Find her at











CSA Annual Conference 2017


DEADLINE EXTENDED: The extended deadline for individual
and panel submissions is January 15th , 2017.


42nd Annual Conference of the Caribbean Studies Association

June 5 – 10, 2017

Melía Nassau Beach Resort, Cable Beach, Nassau, Bahamas

If you have any questions related to your submission and/or the submission process in general, please email us asap at


The 2017 conference theme—Culture and Knowledge Economies: The Future of Caribbean Development?—focuses on the shifting roles of knowledge, culture and economy in the Caribbean while repositioning the question of “development” historically and in our contemporary moment. “Development”—understood as the way a society manages available resources to drive inclusive, equitable and sustainable growth has often been plagued by narrow economic, technical and public policy paradigms. This conference asks us to (re)consider what counts as economic activity, cultural and creative endeavor, and knowledge regimes from the broad social, cultural, institutional and historic contexts of enslavement, independence, national debt, globalization and reckonings with nature.

The CSA Conference Program Committee invites scholarly papers, workshops, and roundtable proposals from individuals spanning the broadest disciplinary and methodological range whose work directly engages the conference theme as well as the complexities of the region, particularly in terms of the intersections of gender, race, class, sexuality, nationality, religion, etc. CSA welcomes a wide range of participants, from independent and emerging scholars to well-known scholars, from professionals in industry, politics, etc. to activists, artists, and community-based researchers. We are also very interested in workshop and roundtable proposals that offer in-depth discussion in any of the proposed topic areas with a focus on viable solutions and applicable models for change.

We invite artists of all kinds to submit work for consideration in the visual and performance arts track and the film track – the committee’s call for proposals is available on the CSA website. We also invite writers to submit proposals for the author celebration and the literary salon (see details for both on the CSA website).

We welcome submissions and proposals on a range of topics that relate to the overall conference theme within any of these topic areas: (See the more detailed descriptions of topic areas in the CFP – CLICK HERE.)

1) “Development” theory and practice: challenging the model; new pathways
2) Caribbean creative imagination and knowledge production (literature, film, art, music, traditional knowledge, food, medicine, religion and spiritual rituals)
3) Defining “Culture,” defining “Knowledge”: policy; governance; preservation and curation; heritage tourism
4) Caribbean intellectual and socio-political movements: history; culture; knowledge; activism
5) Culture and Knowledge viable models: creative industries; festivals; folklore; traditional and intellectual

CSA 2017 Guidelines for Submissions

All proposals must be submitted electronically via the CSA website (NOT via email). The deadline for individual paper, panel, roundtable, and workshop submissions has been extended to January 15th, 2017. The new software system allows us to gather necessary information from each submission/proposal – please pay attention to the changes and required information, as well as space to submit additional information. All of this will help the Program Committee and Executive Council to plan efficiently. Here are important items to take note of when preparing and submitting abstracts/proposals: 

  • Select a “topic” for the abstract/proposal (for individual papers, panels, workshops or roundtables – see the truncated list of topics above and the full descriptions in the CFP)
  • All submissions must indicate language of presentation and presentation method (select from the list).
  • “Main Author” is the chair for panels, and “Co-Author” is for other presenters. ALL “Co-Authors” must register Individually and submit their individual panel presentation under the MAIN PANEL TITLE.
  • Abstracts must not exceed 125 words for individual papers or 250 words for panels.
  • Titles for all proposals must not exceed 70 characters.
  • Proposed panels or roundtables should contain at least 3 and no more than 4 presenters, and panel chairperson must be named as the “main author.” Each presenter or “co-author” must also be listed and supporting documents with titles and short abstracts for each presenter can be uploaded with the Panel or Roundtable submission.
  • Paper titles and abstracts should be submitted in at least one other language besides English (Spanish, French or Haitian Kreyol, Dutch or Papiamento); multilingual abstracts will be published in the electronic version of the program.
  • Panels should strive to represent a diversity of languages, rank, affiliations and disciplines (i.e., inclusion of graduate students and junior scholars on panels with senior scholars, activists, and/or practitioners; panels composed of social science, arts and humanities scholars).
  • Papers/presentations that require special equipment, installation space, rooms, translation services, etc., must be indicated on the submission form.
  • Workshops should be strategy focused and directly engage in the topic areas, and must include clearly stated outcomes and goals – with one main presenter and no more than 3 co-presenters.

Proposals for Film and Visual Arts and Performance Committee, Literary Salon, and Author Celebration – must be submitted through the CSA website – Deadline January 15th, 2017.

  • Select the track/committee under “topics” and use the supporting documents area to upload files, photos, videos, trailers, etc. that will supplement the abstract/proposal.
  • Presentations of films and visual and performing arts, as well as related panels, are welcome. See the Call for Proposals under “Committees” on the CSA website. Be sure to review this for specific details and requirements from the committee and track chairs.
  • Presentations for the Author Celebration and the Literary Salon are also welcome. See the Calls for Proposals under “Committees” on the CSA website. Be sure to review for specific details and requirements from these committees.

For additional information or help with suggested topics, submission forms, author celebration, literary salon, film and arts tracks, and/or translation, please contact the CSA Program Co-Chairs, Guido Rojer, Jr. and Okama Ekpr Brook, at













Call for Submissions:

Global Dystopias


A special call for submissions from Boston Review‘s fiction editor Junot Díaz:

Over the last decades dystopian narratives have proliferated to the point where they seem to have become our default mode for conceptualizing the future. But dystopias are not merely fantasies of a minatory future; they offer critically important reflection upon our present. If (as Tom Moylan has argued) traditional dystopias crafted cognitive maps of the terrors of the twentieth century, what cognitive maps does our current dystopian turn provide us of our turbulent global present?

Throughout 2017, we will feature stories, essays, and interviews on the theme of global dystopias. The project will culminate in a special print issue in the fall of 2017.

We are seeking essays, interviews, and fiction from writers around the globe that engage the theme of dystopia. Nonfiction, personal essay, genre fiction (SF, fantasy, horror, Afrofuturist, slipstream), and work that resides across/between genres are welcome.   

Submissions might explore, but are not limited to:

  • Inequality / precarity
  • Climate change
  • Global democracy
  • Civic media and civic imaginaries
  • Afrofuturism
  • The War on Terror
  • The Global South
  • International politics and speculative futures
  • Post-humanisms
  • The future of females
  • Gendered violence
  • Radical futurities

The submissions period is open for fiction and nonfiction via Submittable until May 1, 2017. Listen to Junot Díaz discuss his vision for the special issue here.