Bahamians and Miami’s Queer Erotic

Author(s):  
Julio Capó

This chapter explores Bahamian migration to Miami during the first few decades of Miami’s municipal history. Analyses of Bahamian migrant experiences at the border, in Miami, and throughout the archipelago show how gendered migration patterns created “bachelor” societies in Miami’s urban frontiers and female-dominated and homosocial spaces in the then-British colony of the Bahamas. While Miami’s white powerbrokers struggled with inadequate infrastructure, a growing population, and ill-defined local economy, they came to rely on the cheap, experienced labor that male Bahamian migrants offered. The chapter argues that the desirability of the black male body and laborer was constructed alongside a distinct queer erotic and white male gaze. The chapter also introduces the economic challenges Bahamians faced back on the archipelago and how these migration patterns broke down household economies and traditional family models. U.S. immigration officials heavily policed single and unaccompanied Bahamian women at the Miami-Caribbean borders, while the borders proved mostly porous for Bahamian men before 1924. Law enforcement, however, heavily policed Bahamian men once they entered Miami. Criminal records indicate, for instance, that they were disproportionately represented in sodomy and crime against nature charges.

2020 ◽  
pp. 140349482094472
Author(s):  
Jennifer Caputo ◽  
Angela Carollo ◽  
Eleonora Mussino ◽  
Linda Juel Ahrenfeldt ◽  
Rune Lindahl-Jacobsen ◽  
...  

Background: Certain migration contexts that may help clarify immigrants’ health needs are understudied, including the order in which married individuals migrate. Research shows that men, who are healthier than women across most populations, often migrate to a host country before women. Using Danish register data, we investigate descriptive patterns in the order that married men and women arrive in Denmark, as well as whether migration order is related to overnight hospitalizations. Methods: The study base includes married immigrants who lived in Denmark between January 1, 1980 and December 31, 2014 ( N = 13,680). We use event history models to examine the influence of spousal migration order on hospitalizations. Results: The order that married individuals arrive in Denmark is indeed highly gendered, with men tending to arrive first, and varies by country of origin. Risk of hospitalization after age 50 does not depend on whether an individual migrated before, after, or at the same time as their spouse among either men or women. However, among those aged 18+, men migrating before their wives are more likely to experience hospitalizations within the first 5 years of arrival. Conclusions: These findings provide the first key insights about gendered migration patterns in Denmark. Although spousal order of migration is not related to overnight hospitalization among women, our findings provide preliminary evidence that men age 18+ who are first to arrive experience more hospitalization events in the following 5 years. Future research should explore additional outcomes and whether other gendered migration contexts are related to immigrants’ health.


2021 ◽  
Vol 25 (3-4) ◽  
pp. 126-138
Author(s):  
John-Paul Zaccarini

This essay follows the making of a queer of colour aesthetic space in the form of a music video entitled Brother, within a largely homogenous white University. The video places white heteronormativity on the periphery whilst intersectional brown bodies take the centre. It inverts racist and fetishistic tropes in music video culture and reverses the white male gaze. The making of the video created a small brown island in a sea of white as a vision of a future brown space protected from the ubiquitous, ambivalently festishizing white gaze; a gaze that projects its own narrative onto bodies of colour. It puts forward a thesis of racial agency, whereby the performance of “race” is scripted by the person of colour and not provoked by the construct of whiteness.


2019 ◽  
Vol 4 (1) ◽  
pp. 608-615
Author(s):  
Jean Hatcherson

AbstractIncreasingly, tourists come to northern Mongolia to visit the camps of the Dukha reindeer herders, a small group often characterized as primitive and disappearing. The year-round entry of tourists to Dukha camps is unregulated; the timing and context of these encounters, including compensation and accommodation, unpredictable. Some herders leverage dominant cultural and social capital, gaining more visitors and more opportunities to earn cash. However, while visits bolster the local economy, these cross-cultural contacts may disrupt traditional socio-cultural identities, migration patterns and egalitarian norms. This qualitative, interpretive study used guided, open-ended interviews (N=30), a modified pile sort and participant observation to examine reindeer herders’ perceptions of tourist visits and gift giving. Results show Dukha most involved with tourists have a positive attitude toward their visits. As tourists generally stay only two to four days, negative outcomes vis-a-vis gifts, cultural misrepresentations and economic compensation currently appear minimized. However, as visits increase, taiga tourism would further benefit from Dukha owned and controlled economic and ethnographic initiatives.


Author(s):  
Michelle Yates ◽  
Susan Kerns

The Chicago Feminist Film Festival aims to decenter and destabilize Hollywood norms, including Hollywood’s tendency to place cis-gendered white male protagonists at the center of films structured according to the hero’s journey. Thus, The Fits (2016) was a natural opener to the inaugural festival, embodying many of the festival’s values in destabilizing what constitutes “normal” ways of seeing the world. In particular, in centering black girlhood, The Fits subverts the white and male gaze. Main character Toni takes on the active gaze usually reserved for white and/or male characters, subverting the objectified status generally prescribed to female characters. The Fits also unsettles the heroine’s journey by troubling Toni’s transformative return. While it may seem that through “the fits” Toni is assimilated into normative gender relations, it is also possible to read Toni’s transformation in the film as form of insubordination, a resistance to this assimilation.


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