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Kempadoo, Kamala. Sexing the Caribbean: Gender, Race and Sexual Labour
2004, Routledge.

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Added by: Emma Holmes, David MacDonald, Yichi Zhang, and Samuel Dando-Moore
Publisher’s Note:
This unprecedented work provides both the history of sex work in this region as well as an examination of current-day sex tourism. Based on interviews with sex workers, brothel owners, local residents and tourists, Kamala Kempadoo offers a vivid account of what life is like in the world of sex tourism as well as its entrenched roots in colonialism and slavery in the Caribbean.

Comment (from this Blueprint): Chapter 3 is about the perceptions of sex as transactional in the Caribbean and how the definition of "prostitution" has shifted over time. It details how sex work is organised, both in brothels and in other establishments, such as hotels, nightclubs, etc. It explores the experiences and feelings of women who have experiences of various kinds of transactional sex. This chapter can be used as a case study which allows the reader to explore sex work through a variety of lenses: its interaction with broader social issues like racism and poverty; the place of transactions and intimacy in sex and sex work; sexual norms and the social meanings of sexual relationships; and freedom and choice when engaging in sex and sex work.

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Wynter, Sylvia. The Re-Enchantment of Humanism: An Interview with Sylvia Wynter
2000, Small Axe 8. pp. 119-207.

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Added by: Suddha Guharoy and Andreas Sorger
Abstract:

Sylvia Wynter is a radical Jamaican theorist influenced, among others, by Frantz Fanon. This well known interview is often considered to be the best introduction to her thinking about the question of human in the aftermath of 1492 and the consequent racialisation of humanity.
Wynter rethinks dominant concepts of being human, arguing that they are based on a colonial and racialized model that divides the world into asymmetric categories such as "the selected and the dysselected", center and periphery, or colonizers and colonized. Against this Wynter proposes a new humanism. According to Katherine McKittrick Wynter develops a "counterhumanism", that breaks from the classification of humans in static, asymmetric categories.

Comment (from this Blueprint): Sylvia Wynter is a Jamaican novelist, playwright, and academic who draws on a huge breadth of academic literature, including amongst others anthropology, critical race theory, postcolonialism, and feminism, in her prolific academic writings that cover an equally diverse set of themes. One important strand of her work involves “unsettling” what she sees as the dominant (Western/European) understanding of “Man”, which she argues is responsible for enabling the brutal and harrowing treatment of non-whites by the European colonisers. Indeed, one of the goals of Wynter’s project is to theorise a new kind of humanism that does not collapse into violence and exclusion, as the current dominant Western paradigm has, but rather one that is truly “comprehensive and planetary” (p.121) in scope. The reading for this week is a long-form interview Wynter did with David Scott, the editor of Small Axe, and covers a huge breadth of her work. The preface of the interview offers a helpful contextualisation of Wynter’s work, while the section we will be reading offers an overview into Wynter’s thinking about the ways in which humanist discourse has functioned to exclude non-whites.

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Césaire, Aimé. Discourse on Colonialism
2000, NYU Press

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Added by: Suddha Guharoy, Andreas Sorger

Publisher's Note: This classic work, first published in France in 1955, profoundly influenced the generation of scholars and activists at the forefront of liberation struggles in Africa, Latin America, and the Caribbean. Nearly twenty years later, when published for the first time in English, Discourse on Colonialism inspired a new generation engaged in the Civil Rights, Black Power, and anti-war movements and has sold more than 75,000 copies to date.

Aimé Césaire eloquently describes the brutal impact of capitalism and colonialism on both the colonizer and colonized, exposing the contradictions and hypocrisy implicit in western notions of "progress" and "civilization" upon encountering the "savage," "uncultured," or "primitive." Here, Césaire reaffirms African values, identity, and culture, and their relevance, reminding us that "the relationship between consciousness and reality are extremely complex. . . . It is equally necessary to decolonize our minds, our inner life, at the same time that we decolonize society."

Comment (from this Blueprint): Aimé Césaire’s Discourse on Colonialism is a foundational text in postcolonial theory, which provides an excoriating critique of not only European practices of colonialism, but also the underlying theories and logics used to justify them. Specifically, Césaire takes aim at the view of colonialism as a ‘civilising mission’, where benevolent Europeans would provide non-white non- Europeans with the tools necessary for modernisation. Instead, he argued that colonialism wrought destruction everywhere it went, killing people, eradicating civilisations, and obliterating any alternative cultural ideas that contrasted European values. Crucially, Césaire explores the psychological effects of colonialism on both the colonised and the coloniser – a theme that would be taken further by Frantz Fanon (a student of Césaire’s) in his writings.

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Muñoz, José Esteban. Performing Disidentifications
1999, In: Disidentifications: Queers of Color and the Performance of Politics. Minneapolis: University of Minnesota. 1-34.

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Added by: Rossen Ventzislavov

Summary: The concept of disidentification is Muñoz' way of capturing the subversion of the token identities assigned by dominant cultural discourse. While this subversion is a common everyday practice for most members of minoritized groups, Muñoz contends that it is in art where it could achieve the political weight that leads to social change. One of the examples Muñoz uses is of gay Latino artist Felix Gonzalez-Torres whose work resists the dominant "representational economy" - it is not explicitly inflected towards and/or recognizable within the traditional symbolic parameters of sexual or ethnic marginalization. In fact, Muñoz sees Gonzalez-Torres' art as exemplary of "tactical misrecognition," i.e. the intentional obfuscation of pre-constituted identification. Performance art is the most natural medium for such misrecognition.

Comment: Best used in classes on sexual or ethnic marginalisation, and the social and political function of art, as well as on the social and political context of art.

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Fusco, Coco. The Other History of Intercultural Performance
1994, The Drama Review 38(1): 143-167.

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Added by: Rossen Ventzislavov

Summary: Fusco's text chronicles the preparation, performance, and public reception of an artwork - "Two Undiscovered Amerindians" - she created in collaboration with Guillermo Gómez-Peña in 1992. The performance was intended as a critique of the contemporary artworld, whose shallow redemptive multiculturalism often sidelined important issues of racial difference and racialized aesthetic perception. It consisted of the two artists spending three days in a golden cage presented, in the manner of live ethnographic spectacles of the not so distant colonial past, as members of an exotic and newly discovered island nation in the Gulf of Mexico. Fusco contends that otherness is always performative and, as such, has held the entire history of performance art - from the Dadaists to the present day - captive. The resulting frequent gestures of appropriation, condescension and erasure discredit the social and intercultural consciousness most performance artists see themselves as representing. Ironically, the strange journey the "Two Undiscovered Amerindians" project has travelled has plentifully confirmed the iniquities the two artists set out to expose.

Comment: While not a philosophical text per se, this article is very helpful in discussions of the political dimension of the contemporary artworld, and the race dynamics within it.

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