RASANBLAJ<\/span><\/h1>\nVOLUME 12\u00a0 | \u00a0ISSUE 1\u00a0 |\u00a0 2015<\/span>
\nDOUBLE ISSUE<\/span><\/h5>\n![\"](\"http:\/\/kalamu.com\/neogriot\/wp-content\/uploads\/2015\/06\/rasanblaj.jpg\")
<\/a>JEANNETTE EHLERS BLACK BULLETS 2012<\/strong><\/span><\/p><\/div>\n <\/p>\n
INTRODUCTION<\/a><\/h3>\nGINA ATHENA ULYSSE<\/strong>\u00a0INVITED EDITOR<\/h5>\nResist the impulse to translate, pronounce it first. Think consciously of the sound. Let the arch of the\u00a0r<\/em>\u00a0roll over the\u00a0ah<\/em>\u00a0that automatically depresses the tongue; allow the hiss in the\u00a0s<\/em>\u00a0that will culminate at the front of the teeth to entice the jaw to drop for the\u00a0an<\/em>\u00a0sound while un-smacking the lips will propel the\u00a0bl<\/em>\u00a0surrounding the depressed\u00a0ah<\/em>\u00a0again ending with\u00a0j<\/em>. Play with its contours. Know what this word feels like in your mouth. In Haitian Krey\u00f2l. 3 syllables. Ra-San-Blaj.<\/p>\n <\/p>\n
ESSAYS<\/h3>\n
Atlantic Ontologies: On Violence and Being Human<\/a><\/p>\nSIBYLLE FISCHER<\/h5>\n
Professing Slackness: Language, Authority, and Power Within the Academy and Without<\/a><\/p>\nCAROLYN COOPER<\/h5>\n
Puerto Rican Rasanblaj: Freddie Mercado’s Gender Disruption<\/a><\/p>\nLAWRENCE LA FOUNTAIN-STOKES<\/h5>\n
How to Be Seen While Unseen: Finding the Visible Bahamas in the (Dis)Assembled Works of Tavares Strachan<\/a><\/p>\nMIMI SHELLER<\/h5>\n
From Bush to Stage: The Shifting Performance Geography of Haitian Rara and Cuban Gag\u00e1<\/a><\/p>\nYANIQUE HUME<\/h5>\n
We Have No Recipes for the Foods of the Future<\/a><\/p>\nANTONIO JOS\u00c9 PONTE<\/h5>\n
Moments of Redemption: Decolonization as Reconstitution of the Body of Katari<\/a><\/p>\nSINCLAIR THOMSON<\/h5>\n
Groundings on Rasanblaj with M. Jacqui Alexander<\/a><\/p>\nM. JACQUI ALEXANDER AND GINA ATHENA ULYSSE<\/h5>\n
<\/p>\n
MULTIMEDIO TEXTS<\/h3>\n
El Ciervo Encantado. Performance, Space, and the Political in El Ciervo Encantado<\/a><\/p>\nLILLIAN MANZOR<\/h5>\n
Spectres of l’Ouverture. A Ghost Is Haunting Your Museum: The Ghost of Black Copenhagen<\/a><\/p>\nJOAQUIN BARRIENDOS<\/h5>\n
Blesi Doub. Heridas Dobles. Dual Wounds.<\/p>\n
ALANNA LOCKWARD<\/h5>\n
<\/p>\n
DOSSIER<\/h3>\n
First Offering<\/a><\/p>\nA.TEBA<\/h5>\n
a despot walks into the killing field<\/a><\/p>\nEDWIDGE DANTICAT<\/h5>\n
Into the Invisible: A Conversation-Performance Rasanblaj with Josefina Baez<\/a><\/p>\nJOSEFINA BAEZ AND ANA-MAURINE LARA<\/h5>\n
Transnationalism and Manuel Ramos Otero’s “Traveling Theater” of Return<\/a><\/p>\nARNALDO M. CRUZ-MALAV\u00c9<\/h5>\n
On Femmage<\/a><\/p>\nSALLY PRICE<\/h5>\n
Fe Yon Rasanblaj: A Body Portal Fantasy Book<\/a><\/p>\nCARLOS ULISES DECENA<\/h5>\n
Idle No More Round Dance Revolution at the Hemispheric Institute of Performance and Politics Montreal Encuentro: A Discussion with Roewan Crowe and Alex Wilson<\/a><\/p>\nROEWAN CROWE AND ALEX WILSON<\/h5>\n
Enacting Dissent: Toward a Cartography of Dissenting Performatics in the Greater Caribbean<\/a><\/p>\nEMILIA MAR\u00cdA DUR\u00c1N-ALMARZA<\/h5>\n
Remaking Fractal Engagement: 6 Perspectives<\/a><\/p>\nCHARLES CAMPBELL<\/h5>\n
little sister: A Black Speculative Solo-Performance<\/a><\/p>\nMISTY DE BERRY<\/h5>\n
The Laboratory of Speculative Ethnology: Suits of Inquiry<\/a><\/p>\nELIZABETH CHIN<\/h5>\n
Dedouble and Jeanguy Saintus’ Corporeal Gifts<\/a><\/p>\nMARIO LAMOTHE<\/h5>\n
Caribfunk: A M\u00e9lange of Caribbean Expressions in a New Dance Technique<\/a><\/p>\nA’KEITHA CAREY<\/h5>\n
Assemblage, Rasanblaj: The Making of\u00a0Sable International<\/em><\/a><\/p>\nROSAMOND S. KING<\/h5>\n
Wrapped in Images and the Materiality of Art Practices: Vladimir Cybil Charlier, Sasha Huber, and Pascale Monnin<\/a><\/p>\nJERRY PHILOGENE<\/h5>\n
Reflexiones<\/a><\/p>\nHAMLET LAVASTIDA<\/h5>\n
<\/p>\n
MULTIMEDIOS<\/h3>\n
El Ciervo Encantado: Un altar en el manglar<\/a><\/p>\nLILLIAN MANZOR<\/h5>\n
Blesi Doub. Heridas Dobles. Dual Wounds.<\/p>\n
ALANNA LOCKWARD<\/h5>\n
Jeannette Ehlers: Timely Revenants<\/a><\/p>\nJOAQUIN BARRIENDOS<\/h5>\n
<\/p>\n
BOOK REVIEWS<\/h3>\n
Omens of Adversity: Tragedy, Time, Memory, Justice<\/em>\u00a0by David Scott<\/a><\/p>\nMATTHEW GARRETT<\/h5>\n
Tropic Tendencies: Rhetoric, Popular Culture, and the Anglophone Caribbean\u00a0<\/em>by Kevin Adonis Browne<\/a><\/p>\nANGELETTA KIM MARIE GOURDINE<\/h5>\n
Pordioseros del Caribe\u00a0<\/em>por Johan Majail<\/a><\/p>\nJORGE D\u00cdAZ<\/h5>\n
In Visible Movement: Nuyorican Poetry from the Sixties to Slam\u00a0<\/em>by Urayo\u00e1n Noel<\/a><\/p>\nARNALDO CRUZ-MALAV\u00c9<\/h5>\n
Vodou et th\u00e9\u00e2tre: Pour un th\u00e9\u00e2tre populaire<\/em>par Franck Fouch\u00e9<\/a><\/p>\nSCHALLUM PIERRE<\/h5>\n
Skin Acts: Race, Psychoanalysis, and the Black Male Performer<\/em>\u00a0by Michelle Ann Stephens<\/a><\/p>\nROC\u00cdO PICHON-RIVI\u00c8RE<\/h5>\n
Island Bodies: Transgressive Sexualities in the Caribbean Imagination<\/em>\u00a0by Rosamond S. King<\/a><\/p>\nCAROLE BOYCE DAVIES<\/h5>\n
Citizenship from Below: Erotic Agency and Caribbean Freedom<\/em>\u00a0by Mimi Sheller<\/a><\/p>\nDANIELLE ROPER<\/h5>\n
Teatro militante. Radicalizaci\u00f3n art\u00edstica y pol\u00edtica en los a\u00f1os 70<\/em>\u00a0por Lorena Verzero<\/a><\/p>\nLUCIANA SCARAFFUNI<\/h5>\n
Performing Archives\/Archives of Performance<\/em>\u00a0edited by Gundhild Borggreen and Rune Gade<\/a><\/p>\nKATJA KOLCIO<\/h5>\n
De gente com\u00fan. Pr\u00e1cticas est\u00e9ticas y rebeld\u00eda social<\/em>\u00a0editado por Lorena M\u00e9ndez, Brian Whitener y Fernando Fuentes<\/a><\/p>\nCYNTHIA PECH<\/h5>\n
Un hait\u00ed dominicano. Tatuajes, fantasmas y narrativas bilaterales<\/em>\u00a0por Alanna Lockward<\/a><\/p>\nLUIS CARLOS RINC\u00d3N-ALBA<\/h5>\n
Native Diasporas: Indigenous Identities and Settler Colonialism in the Americas<\/em>\u00a0edited by Gregory D. Smithers and Brooke N. Newman<\/a><\/p>\nBRYAN WILLIAMS<\/h5>\n
American Creoles: The Francophone Caribbean and the American South<\/em>\u00a0edited by Martin Munro and Celia Britton<\/a><\/p>\nNATHAN DIZE<\/h5>\n
Cities from Scratch: Poverty and Informality in Urban Latin America\u00a0<\/em>edited by Brodwyn Fischer, Bryan McCann, and Javier Auyero<\/a><\/p>\nISABEL GIL EVERAERT<\/h5>\n
Gender and Violence in Haiti: Women’s Path from Victims to Agents<\/em>\u00a0by Benedetta Faedi Duramy<\/a><\/p>\nALESSANDRA BENEDICTY<\/h5>\n
Blacks in Blackface: A Sourcebook on Early Black Musical Shows<\/em>\u00a0by Henry T. Sampson<\/a><\/p>\nRASHIDA Z. SHAW<\/h5>\n
Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age<\/em>\u00a0by Lara Putnam<\/a><\/p>\nMARC HERTZMAN<\/h5>\n
Racial Experiments in Cuban Literature and Ethnography<\/em>\u00a0by Emily A. Maguire<\/a><\/p>\nKAHLIL CHAAR-P\u00c9REZ<\/h5>\n
Islands of Empire: Pop Culture and U.S. Power<\/em>\u00a0by Camilla Fojas<\/a><\/p>\nMANOUCHEKA CELESTE<\/h5>\n
<\/p>\n
PERFORMANCE AND VISUAL ART REVIEWS<\/h3>\n
Gatherings: Mar\u00eda Magdelena Campos-Pons and the Art of Recovery<\/a><\/p>\nLIZABETH PARAVISINI-GEBERT<\/h5>\n
\nDOUBLE ISSUE<\/span><\/h5>\n
<\/a>JEANNETTE EHLERS BLACK BULLETS 2012<\/strong><\/span><\/p><\/div>\n <\/p>\n Resist the impulse to translate, pronounce it first. Think consciously of the sound. Let the arch of the\u00a0r<\/em>\u00a0roll over the\u00a0ah<\/em>\u00a0that automatically depresses the tongue; allow the hiss in the\u00a0s<\/em>\u00a0that will culminate at the front of the teeth to entice the jaw to drop for the\u00a0an<\/em>\u00a0sound while un-smacking the lips will propel the\u00a0bl<\/em>\u00a0surrounding the depressed\u00a0ah<\/em>\u00a0again ending with\u00a0j<\/em>. Play with its contours. Know what this word feels like in your mouth. In Haitian Krey\u00f2l. 3 syllables. Ra-San-Blaj.<\/p>\n <\/p>\n Atlantic Ontologies: On Violence and Being Human<\/a><\/p>\n Professing Slackness: Language, Authority, and Power Within the Academy and Without<\/a><\/p>\n Puerto Rican Rasanblaj: Freddie Mercado’s Gender Disruption<\/a><\/p>\n How to Be Seen While Unseen: Finding the Visible Bahamas in the (Dis)Assembled Works of Tavares Strachan<\/a><\/p>\n From Bush to Stage: The Shifting Performance Geography of Haitian Rara and Cuban Gag\u00e1<\/a><\/p>\n We Have No Recipes for the Foods of the Future<\/a><\/p>\n Moments of Redemption: Decolonization as Reconstitution of the Body of Katari<\/a><\/p>\n Groundings on Rasanblaj with M. Jacqui Alexander<\/a><\/p>\n <\/p>\n El Ciervo Encantado. Performance, Space, and the Political in El Ciervo Encantado<\/a><\/p>\n Spectres of l’Ouverture. A Ghost Is Haunting Your Museum: The Ghost of Black Copenhagen<\/a><\/p>\n Blesi Doub. Heridas Dobles. Dual Wounds.<\/p>\n <\/p>\n First Offering<\/a><\/p>\n a despot walks into the killing field<\/a><\/p>\n Into the Invisible: A Conversation-Performance Rasanblaj with Josefina Baez<\/a><\/p>\n Transnationalism and Manuel Ramos Otero’s “Traveling Theater” of Return<\/a><\/p>\n On Femmage<\/a><\/p>\n Fe Yon Rasanblaj: A Body Portal Fantasy Book<\/a><\/p>\n Idle No More Round Dance Revolution at the Hemispheric Institute of Performance and Politics Montreal Encuentro: A Discussion with Roewan Crowe and Alex Wilson<\/a><\/p>\n Enacting Dissent: Toward a Cartography of Dissenting Performatics in the Greater Caribbean<\/a><\/p>\n Remaking Fractal Engagement: 6 Perspectives<\/a><\/p>\n little sister: A Black Speculative Solo-Performance<\/a><\/p>\n The Laboratory of Speculative Ethnology: Suits of Inquiry<\/a><\/p>\n Dedouble and Jeanguy Saintus’ Corporeal Gifts<\/a><\/p>\n Caribfunk: A M\u00e9lange of Caribbean Expressions in a New Dance Technique<\/a><\/p>\n Assemblage, Rasanblaj: The Making of\u00a0Sable International<\/em><\/a><\/p>\n Wrapped in Images and the Materiality of Art Practices: Vladimir Cybil Charlier, Sasha Huber, and Pascale Monnin<\/a><\/p>\n Reflexiones<\/a><\/p>\n <\/p>\n El Ciervo Encantado: Un altar en el manglar<\/a><\/p>\n Blesi Doub. Heridas Dobles. Dual Wounds.<\/p>\n Jeannette Ehlers: Timely Revenants<\/a><\/p>\n <\/p>\n Omens of Adversity: Tragedy, Time, Memory, Justice<\/em>\u00a0by David Scott<\/a><\/p>\n Tropic Tendencies: Rhetoric, Popular Culture, and the Anglophone Caribbean\u00a0<\/em>by Kevin Adonis Browne<\/a><\/p>\n Pordioseros del Caribe\u00a0<\/em>por Johan Majail<\/a><\/p>\n In Visible Movement: Nuyorican Poetry from the Sixties to Slam\u00a0<\/em>by Urayo\u00e1n Noel<\/a><\/p>\n Vodou et th\u00e9\u00e2tre: Pour un th\u00e9\u00e2tre populaire<\/em>par Franck Fouch\u00e9<\/a><\/p>\n Skin Acts: Race, Psychoanalysis, and the Black Male Performer<\/em>\u00a0by Michelle Ann Stephens<\/a><\/p>\n Island Bodies: Transgressive Sexualities in the Caribbean Imagination<\/em>\u00a0by Rosamond S. King<\/a><\/p>\n Citizenship from Below: Erotic Agency and Caribbean Freedom<\/em>\u00a0by Mimi Sheller<\/a><\/p>\n Teatro militante. Radicalizaci\u00f3n art\u00edstica y pol\u00edtica en los a\u00f1os 70<\/em>\u00a0por Lorena Verzero<\/a><\/p>\n Performing Archives\/Archives of Performance<\/em>\u00a0edited by Gundhild Borggreen and Rune Gade<\/a><\/p>\n De gente com\u00fan. Pr\u00e1cticas est\u00e9ticas y rebeld\u00eda social<\/em>\u00a0editado por Lorena M\u00e9ndez, Brian Whitener y Fernando Fuentes<\/a><\/p>\n Un hait\u00ed dominicano. Tatuajes, fantasmas y narrativas bilaterales<\/em>\u00a0por Alanna Lockward<\/a><\/p>\n Native Diasporas: Indigenous Identities and Settler Colonialism in the Americas<\/em>\u00a0edited by Gregory D. Smithers and Brooke N. Newman<\/a><\/p>\n American Creoles: The Francophone Caribbean and the American South<\/em>\u00a0edited by Martin Munro and Celia Britton<\/a><\/p>\n Cities from Scratch: Poverty and Informality in Urban Latin America\u00a0<\/em>edited by Brodwyn Fischer, Bryan McCann, and Javier Auyero<\/a><\/p>\n Gender and Violence in Haiti: Women’s Path from Victims to Agents<\/em>\u00a0by Benedetta Faedi Duramy<\/a><\/p>\n Blacks in Blackface: A Sourcebook on Early Black Musical Shows<\/em>\u00a0by Henry T. Sampson<\/a><\/p>\n Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age<\/em>\u00a0by Lara Putnam<\/a><\/p>\n Racial Experiments in Cuban Literature and Ethnography<\/em>\u00a0by Emily A. Maguire<\/a><\/p>\n Islands of Empire: Pop Culture and U.S. Power<\/em>\u00a0by Camilla Fojas<\/a><\/p>\n <\/p>\n Gatherings: Mar\u00eda Magdelena Campos-Pons and the Art of Recovery<\/a><\/p>\nINTRODUCTION<\/a><\/h3>\n
GINA ATHENA ULYSSE<\/strong>\u00a0INVITED EDITOR<\/h5>\n
ESSAYS<\/h3>\n
SIBYLLE FISCHER<\/h5>\n
CAROLYN COOPER<\/h5>\n
LAWRENCE LA FOUNTAIN-STOKES<\/h5>\n
MIMI SHELLER<\/h5>\n
YANIQUE HUME<\/h5>\n
ANTONIO JOS\u00c9 PONTE<\/h5>\n
SINCLAIR THOMSON<\/h5>\n
M. JACQUI ALEXANDER AND GINA ATHENA ULYSSE<\/h5>\n
MULTIMEDIO TEXTS<\/h3>\n
LILLIAN MANZOR<\/h5>\n
JOAQUIN BARRIENDOS<\/h5>\n
ALANNA LOCKWARD<\/h5>\n
DOSSIER<\/h3>\n
A.TEBA<\/h5>\n
EDWIDGE DANTICAT<\/h5>\n
JOSEFINA BAEZ AND ANA-MAURINE LARA<\/h5>\n
ARNALDO M. CRUZ-MALAV\u00c9<\/h5>\n
SALLY PRICE<\/h5>\n
CARLOS ULISES DECENA<\/h5>\n
ROEWAN CROWE AND ALEX WILSON<\/h5>\n
EMILIA MAR\u00cdA DUR\u00c1N-ALMARZA<\/h5>\n
CHARLES CAMPBELL<\/h5>\n
MISTY DE BERRY<\/h5>\n
ELIZABETH CHIN<\/h5>\n
MARIO LAMOTHE<\/h5>\n
A’KEITHA CAREY<\/h5>\n
ROSAMOND S. KING<\/h5>\n
JERRY PHILOGENE<\/h5>\n
HAMLET LAVASTIDA<\/h5>\n
MULTIMEDIOS<\/h3>\n
LILLIAN MANZOR<\/h5>\n
ALANNA LOCKWARD<\/h5>\n
JOAQUIN BARRIENDOS<\/h5>\n
BOOK REVIEWS<\/h3>\n
MATTHEW GARRETT<\/h5>\n
ANGELETTA KIM MARIE GOURDINE<\/h5>\n
JORGE D\u00cdAZ<\/h5>\n
ARNALDO CRUZ-MALAV\u00c9<\/h5>\n
SCHALLUM PIERRE<\/h5>\n
ROC\u00cdO PICHON-RIVI\u00c8RE<\/h5>\n
CAROLE BOYCE DAVIES<\/h5>\n
DANIELLE ROPER<\/h5>\n
LUCIANA SCARAFFUNI<\/h5>\n
KATJA KOLCIO<\/h5>\n
CYNTHIA PECH<\/h5>\n
LUIS CARLOS RINC\u00d3N-ALBA<\/h5>\n
BRYAN WILLIAMS<\/h5>\n
NATHAN DIZE<\/h5>\n
ISABEL GIL EVERAERT<\/h5>\n
ALESSANDRA BENEDICTY<\/h5>\n
RASHIDA Z. SHAW<\/h5>\n
MARC HERTZMAN<\/h5>\n
KAHLIL CHAAR-P\u00c9REZ<\/h5>\n
MANOUCHEKA CELESTE<\/h5>\n
PERFORMANCE AND VISUAL ART REVIEWS<\/h3>\n
LIZABETH PARAVISINI-GEBERT<\/h5>\n