Bib 10.

Brian Meeks, (2007) Envisioning Caribbean Futures: Jamaican Perspectives, The University of the West Indies Press, pp 12-17 

This source clearly lays out the blue print for life after colonisation in the Caribbean, this book is a strong manifesto for dealing with the crisis of globalization in the post-colony through reorganisation of the system, structure and processes. What this books does for me in allow me to look with open eyes at the endless possibilities Jamaican culture will go. Much like my design work, working through the delicate issues in the Caribbean will be a long journey, but along the way there will be clear celebrations at every mile stone we grow our identity.

When creating my Textiles as marks of identity and cultural growth I will take a pragmatic look at this journey to our future, I feel it would be key to explore a visual narrative of the future much like my earlier post of Barrington Watson’s ‘Out of many One people’ Painting where we capture the Multiculturalism at the bus stop, the people at the bus stop are taking a journey into the future of some what 400 years later.


Bib 9

Ralph Paper (1996) Ethnicity and Identity in the Caribbean: Decentering a Myth, Kellogg Institute, pp.2 -6

Reading this text designated deep within me, as the author explored the truth notion of being Caribbean means you have a unique identity. The author pushes the boundaries of what Caribbean identity encompasses, and how the diverse race is celebrated through many form, of which our culture is still relatively young in comparison to many non colonised counties who have enjoyed thousands of years of freedom which in turn means years of tradition and solid cultural identity. The author further explores the notion of the future of the Caribbean as a growing and deepening band of people who are evolving the traditions of the past.

What I have taken from this source is a wider context of Caribbean identity and how that trickles down into Jamaican society, I can now evaluate the many texts within the book to best question my understanding how the wider Caribbean community feel about there identity in relation to the globalisation in Jamaica.

Bib 8.

Dr Cybele T. Gontar, (2013) Vol 14. No 1. A Fashion for Abolition, common- place Journal

The author notes how ‘Traite des Negres’ (ca.1825) production was a commemorative Toile de Jouy that celebrated the abolish of slavery and featured anti-slavery narratives on the printed paper or fabric. The Traite is a clear symbol of the Atlantic world, the central commercial slave trading zones which meant the very cotton slaves where laboring over was the very elegant printed cotton anti slavery narratives where being printed on.

This source was a very deep read as it showcases another form on communication/ historical visual textiles how best to approach the issues of sourcing. Who and where are your natural sources coming from, it’s key for me to now allow the message I am delivery to get caught up in the hypocrisy of where these cultural objects are being sources and produces.

Bib 7.

Joanne Entwistle (2007) Fashion and the Fleshy Body: Dress as Embodied Practice (Fashion Theory The Journal of Dress Body & Culture) 4(3):323-347

From this I have taken the ideology and theory of dressing the body and how much of the body we wish to cover and expose. This source relates directly to the Vulgar exhibition and how fabric, fashioned on the flesh can become vulgar in its self by exploring to much designer fabric or to less and it’s relationship to the wearer. Jamaica Dancehall culture, has this very undercurrent of sexualisation, provocativeness and sheer shock factor. This source was a fantastic read as it has allowed me to view the textiles and the Naked body in new view point. As I am dealing with swimwear design which in it’s self is a object that shows or covers up areas of the body. It will now be the areas I leave covered up or exposed that I wish to play with. Fashion and the Fleshy Body has a very strong Bibliography so I will be viewing more sources that cover this they fascinating theory which I will link directly to my own very naked culture.

Bib 6.

Sonja Andrews (2008) Textile Semantics: Considering a Communication- based Reading of Textiles, Textile, 6:1, 32-65

The author notes the importance of communication through textiles as a valid historical document of socio-economical landscape of the day. The author explores texts relating to commemorative and narrative textile traditions and symbolism within textile motifs. The source has helped me to understand the ways in which I will be able to critically design a textile with imagery that creates my visual narrative of identity and cultural development.This source is relevant to my study because me and the author share the same desire to document history on fabric. The source raises some interesting points of view such as the ways in which Toile de jouy’s narrative is laid out of the fabric, if the positioning was changed would the historical narrative read differently, it is these elements that I wish to keep in mind whilst at the development stage of my Identity narrative.

Bib 5.

Laurie A.Wilkie, (2002) Vol 34, No3. Culture Brought: Evidence of the Creolization in the Consumer Goods of an Enslaved Bahamian Family pp. 10-26

The Author notes in this article that there is historical marriage of ‘material culture’ in Jamaica and the west indie island. The author explores some of the traditions within the homes in Jamaica from the elite to the less well off. The Author explored the distinguished types of wealth on the island and how they marry together to create trends. The less well off that can not afford the Luxury would create there own home made various of the styles in stores which in turn created more popular trends. The shows this audience that the wearer of these trends both elite and poor both have a common similarity that is desire.

This source is particularly useful as it has allowed me to gather more knowledge of the desire of Luxury good and popular trends have evolved in Jamaica through contrasting group of people who commonly all the desire the same styles and looks.

Bib 4.

Anna. M. Galvin (2014) Sounds of the Citizens: Dancehall and the Community in Jamaica,pp 3-5

The Author notes how the, ‘rhythms of dancehall music reverberate in complicated way throughout the lives of countless Jamaicans’.It has become a mainstream and underground art form that has it’s traditions in bedded deep into slave roots and the need to feel free and be expressive, in doing so the author show a wide variety of dance and musical tradition in Jamaica as a way they escape there day to day lives a live out there night fantasy. The author notes that the by understand the link between fashion identity we can understand Jamaican music identity. This source has been useful as it show another view point of cultural development in the cities of Jamaica, It has made me question the role of Fashion as identity in the pop culture in the Cities and towns.

Bib 3.

Rex Nettleford (1971) Mirror, Mirror: Identity, Race and Protest in Jamaica, pp.101-104
The Author deals with the ‘Nitty Gitty’ of the Jamaica’s Socio-Economic conditions within the Island in the late 60’s early 70’s. The author makes a clear comparison to much of the Jamaican revolution; to what was happening in neighbouring counties. The pages selected calls attention to the lack and lose of cultural identity and not knowing how to take the cultural development forwards in a positive way. The author shows how the native Jamaican audience has engaged in the demise of it’s people and how they can now action themselves to re-define what it is to be a Jamaican. The source was particularly useful as it has made me question deeply the term ‘what it is to be Jamaican’, although the book is not current; many of the issues raised exist today also within the bibliography are sources that of scholars who are still curating multiculturalism in Jamacia today.

Bib 2.

Pauline Edwards, (2010) Trench Town Concrete Jungle; kill or be killed, Published by P.Edwards pp.22-25

The author notes that this book has been created to how the historical and social standing of Jamacia has a Island that has a complex attitude to colour and race. The author calls attention to where Jamacia is heading told from the view point of someone growing up in the Ghetto’s and where Jamacia has come from. The author makes clears suggestions that Jamacia will continue to struggle with life after colonialism. The Author goes on to make observations that, ‘Jamaicans have accepted that they are descendants of one or more race that were taken here during slavery, there are some who firmly believe that they are nothing but Jamaicans. I too share the view that many races have become one and we are Jamaicans’. Although heavily influenced by the Africans and the British we have still found ways to acquire unique characteristics that set us apart as a people. Jamaican creole and Reggae music are two examples of such characteristics that define us, our foods and the crops we cultivate are other factors that have helped to mold us into an independent people.

Reading this book has helped me to develop my own way of critical thinking when look at a large subject as race/identity and culture, this book has inspired a whole new way thinking to best discuss this subject in the context of textiles and fashion. I want people to view my textiles as fashioned garment to feel the same.


Bib 1.

Bakare-Yusuf, Bibi (2006) Vol 11, Issue 1. Clashing Interpretations in Jamaican Dancehall Culture pp. 191- 173

One of the clashes running throughout this source is that between the native and the foreign interpreter and the consumer-audience dichotomy within dancehall culture. From the outset, Cooper asserts that her project “is stubbornly rooted in a politics of place that claims a privileged space for the local and asserts the authority of the native as speaking subject”. Part of the need to assert the authority of the “native speaking subject” has not only to do with the “devaluation of misunderstood local traditions” (173) by both elite Jamaicans and the parasitic cultural “outsiders who do not understand the multi-track discourse of the dancehall” (39),2 but as a strategy to recuperate “the power of the indigenous voice and the nativist worldview of the marginalized wordsmiths, especially the DJs” (7).

The Source further explains the in depth issues associated with the culture and allows the audience to acknowledge finding our own Jamaican culture is going to be a up hill struggle and that the Dj’s in the Dancehall must do there part in leading the culture through positive celebration. This has been useful as I now know have a clear understand of the Dancehalls of Jamaica’s political and social standing. This very argument with create a exciting textile, that visually tells this narrative but a positive narrative of celebration.