Black and Brown Intimacies Across Africa, Asia, and the Caribbean
“European exploitation desires the black slave, the Chinese coolie, and the Indian laborer for the same ends and the same purposes.”
W. E. B. Du Bois “The Clash of Color: Indians and American Negroes.” The Aryan Path 1936 (2005).
MoreNote: This is a preliminary bibliography with no claims to comprehensiveness. Please feel free to contact the colloquy curators with reading recommendations. Our aim is to collaboratively create a robust bibliography.
Ananya Jahanara Kabir considers the work of hiphop dancer and choreographer Shailesh Bahoran to articulate how movement and dance can suture together histories of migration.
Drawing on her own family history and the artworks of three mixed-media artists, Tao Leigh Goffe explores how visual art can produce a global transoceanic conception of Afro-Asia. How do Albert Chong, Richard Fung, and Tomie Arai use vernacular photography to examine the affective ties of diaspora?
Jenny Sharpe considers the visual power of the imperial picturesque. Analyzing touristic photography of Indian field workers in the Caribbean, Sharpe argues that a “coolie picturesque” simultaneously reveals and conceals the permanent settlement of Indians and their racial mixing with Afro-Jamaicans.
Analyzing the staging and composition of archival photography of South Asian laborers in 19th-century Jamaica, Anna Arabindan-Kesson reflects upon the role of photography in evoking particular colonial narratives about indenture, the perception of Indian laborers’ assimilability, and Jamaica’s modernization.
Thousands of Chinese migrants were recruited to work side by side with African Americans on Louisiana’s sugar plantations after the Civil War. Though now a largely forgotten episode in history, their presence in sugar production helped justify racial exclusion after the abolition of slavery.
Jordache A. Ellapen reflects on his photographic project, Queering the Archive: Brown Bodies in Ecstasy, which blends photographs from his family archive with contemporary portraits shot in a studio. The work examines the intersections of race, sexuality, and eroticism as they relate to the in/visibility of black and brown queer bodies and subjectivities in South Africa.