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
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Au ho biog aphy
Ca los Ga ido Cas ellano wo ks a he Cen e o Compa a i e S udies o Lisbon Uni e si y. His
esea ch in e es s ocus on Ca ibbean isual cul u e, c i ical heo y, and collabo a i e a is ic p ac-
ices. He has done long- e m ieldwo k esea ch in Jamaica, Cuba, he Dominican Republic,
Ma inique, Guadeloupe, T inidad and Tobago, Pue o Rico, and he Uni ed S a es. He is au ho o
wo books on Ca ibbean a and cu a o ial poli ics. Cu en ly he coo dina es he esea ch p ojec
“Compa ing We’s: Collec i ism, Emancipa ion, Pos coloniali y.”