...Louis Chude-Sokei This essay gauges the significance and legacy of Carolyn Cooper’s Noises in the Blood: Orality, Gender, and the “Vulgar” Body of Jamaican Popular Culture (1993). It discusses the book’s impact across and against the “Black Atlantic” paradigm, the rise and limits of global...

...Njelle Hamilton This essay pays homage to the influential scholarship and activism of the Jamaican literary and cultural critic Carolyn Cooper. In form, it imitates Cooper’s code-switching newspaper columns and analysis of Sistren Theater Collective’s Lionheart Gal , traversing the borderline...

...Ananya Jahanara Kabir Carolyn Cooper’s influence as an academic converges with her important work as tastemaker and trendsetter for Jamaica and the wider Caribbean. In this personal homage to Cooper, charted through their meetings in Haiti, Jamaica, and London, the author proposes that we see...

...Nadi Edwards This essay examines Carolyn Cooper’s intellectual project as a practice of noisy disturbance that anchors her conceptualization of Jamaican literary and cultural discourses within the concrete materiality and exteriority of the island’s historical, cultural, socioeconomic...

...Nadia Ellis This essay reflects on Carolyn Cooper’s research on Afro-Jamaican feminisms via literary history, literary criticism, and cultural studies and her use of that research in various pedagogical spaces. The author’s approach is personal and layered, working primarily through memories...

...Carolyn Cooper This essay traces the author’s intellectual trajectory as a Road Scholar translating academic discourse into the language of the street. Cooper acknowledges the trademarks by which she has come to be known: cultural critic, language-rights activist, feminist scholar, incisive...

...Carolyn Cooper The cantankerous public discourse generated by the author’s bilingual newspaper columns published in the Jamaica Observer (May 1993 to January 1998) and the Jamaica Gleaner (March 2013 to the present) illustrates the conservative, neocolonial language ideology that still prevails...

...Carolyn Cooper Small Axe Incorporated 2006 At the Crossroads— Looking for Meaning in Jamaican Dancehall Culture: A Reply Carolyn Cooper In the introduction to Sound Clash: Jamaican Dancehall Culture at Large I make my position clear: In the present study I document...

...Carolyn Cooper Small Axe Incorporated 2004 Enslaved in Stereotype: Race and Representation in Post‐Independence Jamaica Carolyn Cooper Dat fi bruck up an dash weh.¹ —Taxi driver document here in chronological order my contribution to the local...

...Mike Alleyne Small Axe Incorporated 2006 BOOK DISCUSSION: Sound Clash: Jamaican Dancehall Culture At Large Sound Clash: Jamaican Dancehall Culture At Large, Carolyn Cooper. New York: Palgrave Macmillan, 2004. ISBN: 1-4039-6425-4 (cloth); 1-4039-6424-6 (paper) Inside Out: Dancehall...

...Idara Hippolyte Small Axe Incorporated 2006 Un-Theory Idara Hippolyte Sound Clash announces itself on page two as the culmination of Carolyn Cooper’s reflections on Jamaican dancehall since her inaugural 1989 essay, “Slackness Hiding from Culture.”1 As such, it invites...

... of Creolese in Guyana? Many writers and critics echo Bennett’s portrayal of Jamaican Creole or Jamaican as a trickster language, a defiant insistence on using what Carolyn Cooper more generally calls “creole-anglophone.” Edmondson follows Cooper’s provocative feminist reading of canny Caribbean women...

... both within and beyond borders. Carolyn Cooper in Noises in the Blood , for instance, raised questions about notions of respectability as linked with citizenship and its discourses of belonging. Cooper offered an intervention that sought to take seriously the vulgar body and slackness as a disruption...

... in Con- temporary Trinidad Carnival,” Small Axe 7 (March 2000): 93–105; Carolyn Cooper, Noises in the Blood: Orality, Gender and the ‘Vulgar’ Body of Jamaican Popular Culture (London: Macmillan, 1995); Pamela Franco, “Th e ‘Unruly Woman’ in Nineteenth-Century Trinidad Carnival,” Small Axe 7...

... of a racialized, colonial gaze that represented the black man as hypersexualized. A number of viewers, including Carolyn Cooper, argued that in Redemption Song the penis was oversized. Some argued that the work displayed a white female fantasy of black men’s sexuality—“our stamina,” as one young male art...

... of essays written over the last decade entitled Sound Clash: Jamaican Dancehall Culture at Large, Carolyn Cooper continues the project she began in what is arguably the first seminal essay on dancehall culture.1 In this latter collection, Cooper offers the model of clash as a way of thinking through...

..., 1971). 11 Carolyn Cooper, “ ‘West Indies Plight’: Louise Bennett and the Cultural Politics of Federation,” Social and Economic Studies, Federation, and Caribbean Integration 48, no. 4 (1999): 217 . 12 See Griffith, The BBC , 28. 13 John Mordecai, The West Indies: The Federal...

..., no. 1 (1997): 127–41. This controversy included a well-known intervention by Carolyn Cooper on the politics of translation from Jamaican Creole to American English in response to US news coverage of Buju Banton and dancehall homophobia. Carolyn Cooper, “ ‘Lyrical Gun’: Metaphor and Role Play...

... Conceptually, the work of Carolyn Cooper stands out in this regard. It begins in Noises in the Blood , in which she introduces the concepts of “verbal maroonage” and, pivotally, “erotic maroonage,” after defining maroonage generically as the “tradition of resistance science that establishes an alternative...

...., Atlanta, New York City, and Martha’s Vineyard. carolyn cooper teaches Caribbean, African, and African American literature at the University of the West Indies, Mona, where she also coordinates the Reggae Studies Unit. She is the author of Noises in the Blood: Orality, Gender and the “Vulgar” Body...