Caribbean curatorial agencies: A Cultural Object’s unruliness and its affective aftermaths

h ps://doi.o g/10.1177/0921374016668544 Cul u al Dynamics 2016, Vol. 28(3) 249 –265 © The Au ho (s) 2016 Rep in s and pe missions: sagepub.co.uk/jou nalsPe missions.na DOI: 10.1177/0921374016668544 jou nals.sagepub.com/home/cdy h ps://doi.o g/10.1177/0921374016668544 Cul u al Dynamics 2016, Vol. 28(3) 249 –265 © The Au ho (s) 2016 Rep in s and pe missions: sagepub.co.uk/jou nalsPe missions.na DOI: 10.1177/0921374016668544 jou nals.sagepub.com/home/cdy Ca ibbean cu a o ial agencies: A Cul u al Objec ’s un uliness and i s a ec i e a e ma hs Ca los Ga ido Cas ellano Uni e sidade de Lisboa, Po ugal Abs ac This essay analyzes A Cul u al Objec , an ins alla ion made by he Jamaican a is Dawn Sco in 1985, in o de o discuss how ins i u ional p ac ices and c i icism a e amed in con empo a y Ca ibbean a . Th ough an examina ion o A Cul u al Objec ’s a e li e in he space o he Na ional Galle y o Jamaica, I a emp o examine he ela ion be ween he agencies o he museum, he a is , he spec a o s, and he ins alla ion. In so doing, he ex in ends o econside he po en ial o unp edic able human and nonhuman ela ions wi hin Ca ibbean ins i u ional and cul u al spaces. Keywo ds a ins i u ions, Ca ibbean a , cu a o ship, Jamaica, spec a o ship In a emp ing o acknowledge he imp ecision and agueness o he no ion o c i icism, Raymond Williams (1983: 84) u ged o a kind o ac i i y su passing he limi a ions o “ aul - inding.” In Keywo ds, Williams acks he his o ical o igin o he wo d, explain- ing how he concep became associa ed wi h nega i i y. Challenging his adi ion, Williams se s aside his e ymological analysis in o de o p opose a ede ini ion o he concep . Fo Williams, c i icism is de ined as a p ac ice a en i e no only o con inuous sel - e ision bu also o he need o ske ching al e na i e ma e ializa ions o cus oms, agencies, and a ec ions in esponse o speci ic spa ial– empo al coo dina es. Williams (1983) u ges o a ans o ma i e ini ia i e, di ec ly embedded wi hin i s cul u al con ex and he e o e no di ec ly ansla able o o he con ex s (p. 86). This ad ice canno be o mo e ele ance in a momen when he links be ween a and labo , ins i u ional dynam- ics, ins i uen p ac ices, and cul u al ac i ism a e being in ensely e hough . Co esponding au ho : Ca los Ga ido Cas ellano, Cen o de Es udos Compa a is as, Uni e sidade de Lisboa, Alameda da Uni e sidade, 1600-214 Lisbon, Po ugal. Email: [email p o ec ed] 668544CDY 0010.1177/0921374016668544Cul u al DynamicsGa ido Cas ellano esea ch-a icle2016 A icle 250 Cul u al Dynamics 28(3) Bo owing om hese deba es and adop ing Williams’ ac i e, si ua ed no ion o c i i- cism, his a icle examines some o he ghos ly p esences and pi alls in Ca ibbean c i ical and cu a o ial p ac ices and he hinking su ounding hem. My main conce n is wi h chal- lenging he p imacy o discou se in he con igu a ion o na ional and egional his o ies and unde s andings o a is ic p ac ice. In o de o ques ion ha endency, I will sugges ha he e is much o be lea ned om spec a o ship and om a wo ks hemsel es. I will ana- lyze A Cul u al Objec , he ins alla ion ha he Jamaican a is Dawn Sco c ea ed in 1985 o he celeb a ed exhibi ion Six Op ions: Galle y Space Re isi ed, which ook place a he Na ional Galle y o Jamaica. Sco ’s p ojec consis ed o a complex laby in h o med by zinc shee s and labeled “A Cul u al Zone.” The laby in h’s walls we e co e ed wi h a dis- join ed mix u e o s ee cul u e pa aphe nalia e e ing o eligion, dancehall, consume cul u e, and ga ison poli ics,1 cen e ing on a de elic scena io p esided o e by he supine body o a homeless pe son. A Cul u al Objec is said o ha e ansla ed he a mosphe e o Kings on s ee s wi hin he space o he museum (Poupeye, 1985), sha ing he ealism and pessimism o he 1980s, which ollowed he socialis go e nmen o Michael Manley.2 F om his s andpoin , he p ojec ’s main asse is based on he shock i p o okes in he “up own” isi o o he Na ional Galle y.3 Howe e , I will a gue ha Sco ’s ins alla ion is somehow subjec ed o a con adic o y alence: on one hand, i cons i u es a co ne s one in he p ocess o in oducing popula cul u e wi hin he Jamaican na ional canon. On he o he hand, i eme ges as a ges u e o ches a ed by he e y ins i u ion i sough o c i icize. A Cul u al Objec a ose om a e y pa icula con ex and empo ali y. Howe e , as i also poses poignan and imely ques ions o ou unde s anding o c ea i e agency and ins i u ionalism in he p esen . Since i s c ea ion, he ins alla ion became a popula e e - en , a ac ing he a en ion o se e al gene a ions and de eloping a so o a e li e. As we will see, his a e li e is a om being unp oblema ic. In his a icle, I main ain ha he e is an “un uly” po en ial in Sco ’s ins alla ion. This po en ial ela es i s capaci y o leeing ins i u ional no mali y and demanding al e na i e emo ional esponses. The “un uliness” o A Cul u al Objec eme ges as an uncom o able and eloquen wi ness o he Ca ibbean a wo ld’s eli ism and he con inui y o social and acial p i ileges wi hin Ca ibbean pos colonial ins i u ional li e; howe e i also, as I will a emp o demon- s a e, ma ks a lucid pa h o wa d. A Cul u al Objec speaks eloquen ly no only abou he pa icula issues i deals wi h, he “high and low cul u e” deba es, and he ins i u ional poli ics in Jamaica. The e is some hing ha e uses hema iza ion and ca ego iza ion, some “ou -o -join ness” in A Cul u al Objec , and ha elemen , I sugges , goes beyond (wi hou dismissing i ) he po en iali y o he wo k in de ying and expanding he pos colonial Jamaican na ional canon, enabling a c i ique ha s ands close o Williams’ aspi a ions. Sco ’s ins alla ion bea s impo an insigh s on how cul u e is c ea ed, exhibi ed, and consumed. I also e eals he po en iali y o c i icism o unse le no ma i e con igu a ions and p opose al e na i e ones while ques ioning hei own each. The ins alla ion also helps us o mo e o wa d om he “p o-con” deba es on ins i u ional p i ilege ha ha e pe mea ed Jamaican pos colonial a c i icism. The (lack o ) inclusi i y o he Jamaican na ional canon and o a poli ics and he exclusion o e nacula p ac ices, on one hand, and he inse ion o any a is ic discou se wi hin an all-encompassing na ionalis discou se, on he o he , ha e se ed as a cen al ocus o he deba es ha a ose in he las decades o Ga ido Cas ellano 251 he wen ie h cen u y (Douglas, 2004; he main posi ions o hose deba es a e exp essed in A che -S aw and Poupeye, 1995; Boxe and Poupeye, 1982, 1998; Paul, 1998, 1999, 2003b, 2009; Poupeye, 1998, 2007). Al hough engaging wi h hem, A Cul u al Objec is no (me ely) abou inse ing he e nacula inside he museum. I is (also) abou wha emains ou side he cu a o ial p ocess and he ins i u ional space. I objec s and images ha e an a e li e and can be concep ualized as “wan ing” beings (Mi chell, 2005), so do exhibi ions. In many cases, hose desi es anscend hei c ea o s’ will. In explo ing A Cul u al Objec and i s cu a o ial a e ma h,4 I in end o o eg ound a ious elemen s ela ed o issues o a is ic ins i u ionalism, ins i u ional displays, ins i u ional c i ique and he o unes o cu a o ial ini ia i es, which a e pa ially dismissed o igno ed in Ca ibbean cu a o ial p ac ice and hough . Some ques ions a ise. Why does A Cul u al Objec —one o he mos acclaimed and popula symbols o he dynamism o Jamaican e nacula cul u e and he “ e nacula i- za ion” o he na ional museum—con ain a dying body a i s e y co e?5 Wha does his body ell us? Wha does i wan om us? In ying o answe some o hose ques ions, in he nex sec ions, I will analyze h ee aspec s o A Cul u al Objec : how he ins alla ion engages wi h cu a o ial and ins i u ional agency,6 wha kind o a ec s and esponses i p o okes wi hin he museum space, and how i s a e ma h is linked o he e ogeneous— and no exclusi ely human7—agencies. A Cul u al Objec Be o e c ea ing A Cul u al Objec , Dawn Sco was p ima ily known o he igu a i e ba iks, al hough she had also p oduced sculp u e, pain ing, and clo hing, and designed hea e se s (Con ads, 2000: 56). He in e en ion a he Na ional Galle y was, indeed, Sco ’s i s and only ins alla ion. A Cul u al Objec occupied an en i e oom a he Na ional Galle y. I s laby in hine s uc u e o ced a pa ial, incomple e, and g adual pe - cep ion. A he en ance o he zinc spi al, we ind a message s a ing, “Cul u al Zone. En e a you own isk,” which echoes he ga ison poli ics o he pe iod (Poupeye, 2009a). Despi e his wa ning, he en ance is he mos “play ul” and “in i ing” pa o he ins al- la ion, as i is deco a ed wi h ound pos e s ad e ising music e en s and e e ences o dancehall and popula cul u e. The en ance gi es way o a “da ke ” scena io as we ace a na ow, di y co ido , whe e ad e isemen s o e e yday consume p oduc s and allu- sions o eligion, poli ics, sexuali y, and educa ion sha e he ep esen a ional space. This pa is no only c owded wi h messages; hese become mo e explici and acqui e a mo e ominous one, wi h e e ences anging om he Jamaica Labou Pa y (JLP) and Edwa d Seaga, o sexis a i udes owa d he emale body, and so on. The quan i y o deb is inc eases as we a i e o he cen e o he spi al, whe e he body o a dying homeless man lies sp awled ac oss he loo . Be o e eaching his climax, wo adjacen ly si ua ed mes- sages me i ou a en ion: he i s one says, “De on House,”8 and he second one s a es, “Jimmy Lea e in Space.” “Jimmy” is he name o he clay igu e o a homeless pe son sculp ed by Sco . Based on a model in he s udio, he appea ance o he ca ed igu e aims o be as ealis ic as possible. This ealism, essen ial o he shock alue he ins alla- ions aim o elici , is he esul o me iculous documen a ion o Kings on’s ghe o spaces (Poupeye, 1985: 7) (Image 1, Cou esy o he Na ional Galle y o Jamaica). 252 Cul u al Dynamics 28(3) Image 1. Dawn Sco . A Cul u al Objec . Image 2. Dawn Sco . A Cul u al Objec . Ga ido Cas ellano 253 I was p ecisely his e isimili ude, along wi h he bi e one wi h which i was applied o Jamaican e e yday eali y and ansla ed in o he eli is space o he (na ional) whi e cube, which ende ed A Cul u al Objec unique wi hin he exhibi ion in which i was in eg a ed and which ine i ably made i a popula e e en wi hin Jamaican and Ca ibbean a . Sco ’s ins alla ion was by a he mos ad en u ous and dynamic wo k p oduced wi hin Six Op ions: Galle y T ans o med, one o he main exhibi ions o gan- ized by he Na ional Galle y o Jamaica in he 1980s. Six Op ions a ose a a ime when Jamaican a was being ede ined. Al hough he e m “ins i u ional c i ique” does no appea in any analysis o he show, i was clea ha he exhibi ion aimed o a challenge o he ep esen a ional and discu si e scope o he Na ional Galle y. In Six Op ions, cu a- o Rosalind Smi h McC ea was asked o commission six ins alla ions ( ou by Jamaican Image 3. Dawn Sco . A Cul u al Objec . Image 4. Dawn Sco . A Cul u al Objec . 254 Cul u al Dynamics 28(3) a is s: Colin Ga land, Lau a Facey, Da id Boxe , and Dawn Sco and wo by Ame ican a is s: Joyce Sco and Sam Gilliam) o be si ua ed in di e en spaces o he Na ional Galle y. Six Op ions somehow cons i u ed one side o he coin o he o he cen al show o Jamaican a de eloped in he 1980s: Jamaican A : 1922–1982, an exhibi ion cu a ed by Da id Boxe and o ganized by he Na ional Galle y o Jamaica and he Smi hsonian, which se ed as a majo su ey o mode n and con empo a y Jamaican a exhibi ed ab oad and which has become “a s anda d esou ce o Jamaica’s a his o y om 1922 o 1997” (Douglas, 2004: 52). A Cul u al Objec and he Ca ibbean cu a o ial In a equen ly quo ed in e iew, Annie Paul de ined he posi ion o Ch is ophe Cozie , a cen al igu e in con empo a y T inidadian a and one o he leading ac o s in he coun- y’s a is ic mode niza ion, as ha o an Al e Na i e: “Ch is alks o eeling ‘s o yless’ and ‘my hless.’ The al e na i es a e na i es wi hou na a i es, o pe haps hose wi h unpopula na a i es” (Paul, 2003a). The cha ac e iza ion o Ca ibbean a is s as “na i es Image 5. Dawn Sco . A Cul u al Objec . Ga ido Cas ellano 255 wi hou na a i es” o ms pa o a majo pi all o Ca ibbean c i icism and he p esence o a ce ain nega i i y in he conside a ion o a is ic agency, ul ima ely engaged in he ask o “ aul - inding.” A ocus on imaging and imagina ion has p e ailed in he mos ecen c i icism. In ying o con es he inhe i ance o he colonial gaze wi hin he pic- u esque imagina ies (Thompson, 2006), he poli ics and imes o ecep ion o Ca ibbean isuali y (Wainw igh , 2011, 2012, 2013), and he commodi iza ion o acial and sexual di e ence wi hin and beyond he egion (Kempadoo, 2013; Mohammed, 2011; S ephens, 2013), a s ong emphasis has been placed on explo ing and ca ego izing he coun e - na a i es elabo a ed by Ca ibbean a is s. This li e a u e in ends o “ eo ien hough s, ideas, knowledge, and c ea i i y as eme gen and embedded in Ca ibbean isual sensibil- i y” (Kempadoo, 2013: 152). Howe e , i is clea ha his ask seems un ealizable wi h- ou paying a en ion o how his isual sensibili y engages wi h he ins i u ional amewo ks de e mining i s p oduc ion and display. Looking back a he example open- ing his sec ion, Cozie ’s ac i i y is highly conce ned wi h ins i u ing pla o ms ha could be used o imp o e signi ican aspec s o he cul u al milieu. Cozie was esponsi- ble o he c ea ion o wo pi o al a is -managed spaces in Po o Spain, CCA7 (2000– 2005) and Alice Ya d (2006–ongoing), which ha e been essen ial in os e ing a clima e o discussion and exchange, in p omo ing he wo k o young T inidadian a is s, and in es ablishing links wi h simila ini ia i es ac oss he Ca ibbean. This side o Cozie ’s ac i i y s ands o he po en ial o a is ic p ac ice—e ec i ely, no only discu si ely— o ins i u ing new isual opes and, mo e han ha , a noncommodi ized, expanded e - ain o Ca ibbean a is ic p ac ice. A Cul u al Objec is especially eloquen in his ega d. I is nei he silen no does i ela e o an unpopula na a i e. The ins alla ion igge s a mul isenso y se o elemen s ha “ha e a li e on hei own” wi hin he egula ed space o he Na ional Galle y, demanding pa icula esponses by he audience’s side. The museum he e eme ges as open o con lic and nego ia ion, des abilizing he ela ionship be ween cul u al spaces, na ionalis agendas, and ins i u ional powe . Sco ’s ins alla ion also e idences he need o add ess he c i ique o cu a o ial p ojec s om a posi ion ha is a en i e o he a icu- la ion o “ac i e and complex ela ions” aking place in uncanny, un uly, uncon olled ways in a so o cu a o ial a e ma h. In his sec ion, I a gue ha bo h p emises— he enac men o mul iple, some imes con lic ing agencies wi hin cu a o ial p ac ice and he a e li e o hose beyond he exhibi ional momen —p esen in A Cul u al Objec enable an al e na i e, mo e comp ehensi e app oach o Ca ibbean ins i u ional and cu a o ial his o ies.9 Sco ’s ins alla ion shows how he a e li e o cu a o ial ini ia i es and he dispu es o e ins i u ional space can be eloquen in he ways in which es ablished and al e na i e con igu a ions and p ac ices o ins i u ional li e, cul u al c i icism, and isual commod- i iza ion a e de ined and ma e ialized. My in en ion is no so much o posi A Cul u al Objec as an example o he specialized ac i i y e e ed o as cu a ing. Ra he , I in end o show he po en iali y o hinking “ h ough” exhibi ions and ins i u ional p ac ices10 and he ela ed mul i a ious se o p essing issues conce ning Ca ibbean socie ies and cul u es a la ge. Al hough A Cul u al Objec “cap u ed” he logic o he museum and he cu a o ial discou se ha o igina ed i , he ins alla ion, ne e heless, e ealed i sel o be pa icula ly esis an o s aigh o wa d hema ic ca ego iza ions. I is s iking how he 256 Cul u al Dynamics 28(3) exhibi ion’s inno a i e po en ial was soon app op ia ed by a na ionalis ic agenda in he o icial, ins i u ional discou se. Vee le Poupeye (1985), hen wo king a he Depa men o Educa ion o he Na ional Galle y, jus i ied he o iginali y o he exhibi ion as ollows: On my i s isi o he Na ional Galle y one hing was immedia ely appa en : expe imen a ion, o mal expe imen a ion especially, was a he subdued in Jamaican a . Only ecen ly ha e some Jamaican a is s s a ed looking beyond he limi s o ep esen a ion and he adi ional media. This can pe haps be explained by he ac ha Jamaican wen ie h cen u y a has been playing a c ucial ole in he g ow h o a na ional cul u al consciousness. A se ed (and s ill se es) a speci ic pu pose in his socie y. (p. 4) This has o be unde s ood as pa o he p ocess o de ending he ole o cul u al ins i- u ions in he con igu a ion o a pos colonial Jamaican na ional iden i y.11 F om his pa - icula s andpoin , he exhibi ion is “deac i a ed” and inco po a ed in o he na ional a canon as ano he exp ession o Jamaicanness. “Na ional cul u al consciousness” he e aims o s and o he en i e socie y, wi h he ins i u ion being simul aneously he objec and he subjec o c i icism. In he nex sec ion, I will explo e how he ins alla ion’s a e - li e esis s i s in eg a ion wi hin any s able, uni ocal ca ego iza ion. E ec s and a ec s In a sho ex abou ins i u ional p ac ices, Gilles Deleuze concei ed o ins i u ions as o ganized sys ems o mediums ha can be employed o sa is y pa icula demands h ough ac ion. Fo him, ins i u ions a e he main pla o m o a i ma i e ac ion, o he deg ee o a i ming ha “men ha e no ins inc s, hey p oduce ins i u ions” (Deleuze, 2002: 27).12 He s a es, The heo y o he ins i u ion places he nega i e ou side o he social (needs) in o de o p esen socie y as essen ially posi i e, in en i e (o iginal means o sa is ac ion). One such heo y would o e us poli ical c i e ia: y anny is a egime whe e he e a e many laws and ew ins i u ions; democ acy, a egime whe e he e a e many ins i u ions, ew laws. (Deleuze, 2002: 25)13 The dis inc ion be ween ins i u ions and ins inc s, as well as he po en ial o he o - me in con igu ing communi ies o a ec , is made pa icula ly e iden by A Cul u al Objec ’s a e li e. The popula i y o he ins alla ion is qui e eloquen abou how i chan- nels an a ec i e ela ionship wi h he su ounding ins i u ional space, one ha can imply he ep oduc ion o ex e nally imposed and commodi ized social alues, while also en isaging a i ma i e c ea i e ac s. The memo ies linked o A Cul u al Objec a e qui e eloquen in his ega d.14 Sco ’s p ojec was pe cei ed as di e en om he es o he ins alla ions comp ising Six Op ions. In Sco ’s p ojec , a numbe o uncon en ional dynamics we e pu in o play. Ye , wha he ins alla ion ac ually in ends is one hing. Qui e ano he hing al oge he is how i was, and is, pe cei ed by he di e en subjec s po ayed in he wo k o hose pa icipa ing cu a o ially o ins i u ionally. The c i ical alue o cu a o ial ac i i y un olds as hinking is ma e ialized h ough ou doing,15 as Ga ido Cas ellano 257 p axis (Smi h, 2012: 38). Tha doing, howe e , is no limi ed o he empo ali y o he exhibi ion, no o he cu a o ’s agency. This p axis always escapes—a leas pa ially— cu a o ial and ins i u ional will, hus being open o unp edic able e ec s and a ec s. The “unexpec ed” eac ions o ou ins alla ion a e pa o ha p ocess. In he analysis o he ins alla ion, Vee le Poupeye (2009a) ca ego ized Sco ’s wo k as “an ins uc i e c ack in he ins i u ional a mo o he NGJ.” Ea lie in he same en y, she desc ibed he success o he ins alla ion among he Jamaican public as ollows: While A Cul u al Objec ob iously esona es wi h Jamaican audiences, he public esponse has always had a sensa ionalis , ana chic edge. Visi o s almos immedia ely s a ed adding hei own g a i i o he walls and while he a is ini ially accep ed his de ac o in e ac i i y, he esul s ha e been unexpec ed and o en dis u bing. Mos o he g a i i a e simply ju enile—o he “Kil oy was he e” a ie y—bu many o he s a e obscene o poli ically pa isan and illus a e exac ly hose cul u al a i udes Sco sough o c i ique. E en he “s ee pe son” sculp u e has been andalized—one o i s legs was b oken, which sadly mimics he abuse s ee people some imes encoun e in Jamaica—and he a imes unpleasan smell illus a es ha some e en u ina e inside he ins alla ion. (Poupeye, 2009a) Poupeye’s alo iza ion o he ins alla ion highligh s he in e ac i e side o he p ojec , men ioning he spon aneous esponses o i , as well as he ole an and emb acing a i ude o he ins i u ion. The ins alla ion is aken as a pedagogical de ice, one ha aimed o challenge he pe cep ion o he museum as an immacula e whi e cube. Ne e heless, he e ec s and a ec s mo i a ed by he ins alla ion a e no he desi ed ones: in he app ecia- ion, hey appea as an obscene supplemen , a “dis u bing” p esence ha be ays Sco ’s “e ec i e” ac o c i icism. Wi hin his amewo k, A Cul u al Objec eme ges as (na ional) he i age, and he esponses o i as excessi e, uncomp essible ac s.16 While he ex is highly emo ional, as she loca es he esponses o he ins alla ion in an a ch anging om “sensa ionalis ” and “ana chic” o “dis u bing,” i s conclusion is a a ional condem- na ion o andalism. I is as i ha condemna ion somehow elega ed he eelings a ising om he a is ic expe ience o a seconda y posi ion, implying he e o e a closu e o he “ins uc i e c ack” in he ins i u ion posed by Sco ’s p ojec . In any case, Poupeye acknowledges he emo ional po en ial o he ins alla ion: al hough “w ong,” he a acks o he igu e, he ac o u ina ing wi hin he wo k, and he g a i i a e spon aneous, “ana - chis ” esponses sanc ioned by he a is —and we ha e o add: ole a ed by he ins i u- ion—only a pos e io i. The ac ha A Cul u al Objec is an example o cu a ing ha links o emo ions and a ec s also ollows om Dawn Sco ’s s a emen on he p ojec . In ying o deal wi h he “in e ac i i y” o he ins alla ion, Sco poin ed ou how A Cul u al Objec ’s space conju es some o ou a o i e na ional obsessions mainly as p ojec ed in he media, a psychological condi ion in which we a e obliged o li e, especially ou poo es and mos ulne able, and he esul ing way in which people see and p ojec hemsel es, mainly h ough g a i i. (Na ional Galle y o Jamaica, 2010). Con a y o Poupeye’s in e p e a ion, he e, he ocus has passed om he c i icism o excessi e esponses o he ins alla ion and he di icul ies o dealing wi h hem 264 Cul u al Dynamics 28(3) Bake Joseph K (2013) Dis u be s o he Peace: Rep esen a ions o Madness in Anglophone Ca ibbean Li e a u e. Cha lo es ille, VA: Uni e si y o Vi ginia P ess. Balze D (2014) Cu a ionism: How Cu a ing Took o e he A Wo ld and E e y hing Else. To on o, ON, Canada: Coach House Books. Boxe D and Poupeye V (1982) Jamaican A 1922–1982. Kings on, Jamaica: Na ional Galle y o Jamaica and Smi hsonian Ins i u e. Boxe D and Poupeye V (1998) Mode n Jamaican A . Kings on, Jamaica: Ian Randle Publishe s. Con ads D (ed.) (2000) Soon Come: The A o Con empo a y Jamaica. Omaha, NE: Neb aska A s Council. Deleuze G (2002) L’île dése e e au es ex es: Tex es e en e iens 1953–1974. Pa is: Les Édi ions de Minui . Douglas A (2004) A his o y and a c i icism in he Jamaican con ex . 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Cu en ly he coo dina es he esea ch p ojec “Compa ing We’s: Collec i ism, Emancipa ion, Pos coloniali y.”