Jamaica Land of Film Tour
Jamaica Land of Film is the first guided movie location tour which is based on a chronicle of one hundred years of film production in Jamaica by Peter Polack that highlights new and extensive research never before published or available. Changes in Jamaica over the last several decades have been captured through film, but one thing that has not changed is our greatest asset, the people of Jamaica.
Jamaica is the most fascinating and diverse island in the Caribbean for which we have created the premier cultural tour to make memories last well beyond your vacation. Our signature tours will escort you through locations that showcase some of the most famous movies and stars connected to Jamaica. For over a century film directors have chosen Jamaica land of wood and water for the luxurious location landscapes, accommodating crew and business environment,
Jamaica Land of Film
- A bus tour excursion with location stops in Falmouth, Ocho Rios and Montego Bay.
- The East Tour: goes around Falmouth movie locations and then east to locations in Ocho Rios.
- The West Tour: goes around Falmouth movie locations and then west to locations in Montego Bay.
The Jamaica Movie Locations Guide
Our 52 page guide book contains descriptions of popular movies with pictures and is only available on the tour.
Some well-known movies featured on the Jamaica Land of Film tour include:
- Falmouth - 4 movies 3 stops
- Ocho Rios - 15 movies 7 stops
- Montego Bay, Hanover - 14 movies 7 stops
- Live and Let Die
- How Stella Got Her Groove Back
- Legends of the Fall
- Cool Runnings
- Knight and Day
CALL FOR PAPERS
Rethinking the Afropolitan:
The Ethics of Black Atlantic Masculinities on Display
College of the Holy Cross, Worcester, MA
Friday, October 20th and Saturday October 21st, 2017
century term, "Afropolitan," already is charged with contested meanings. Celebrated by some as the pinnacle of African modernities, others see the Afropolitan as a glorified consumer or perennial object of Western consumption. However, most discussions of Afropolitans have occurred in relation to the arts, literature, and fashion and almost exclusively in relation to Africans in Western cities or Westernized enclaves in Africa in the present. A historicized approach to the concept of the Afropolitan raises new questions about how scholars and activists read race, gender, identity, and ethics in images and texts.
For example, a recent proliferation of images and news articles about Congolese men known as
(The Society of Ambiance-Makers and Elegant People) might be considered an example of Afropolitans and the epitome
of the "black dandy." While the "black dandy" may be a resurgent theme
in academic circles or in popular culture, the
evokes a long history of empire, immigration, religious change, and economic upheaval that touches upon more than an elite lifestyle. Other versions of the "black dandy" have existed across the Atlantic world throughout history, including the caricatures of Julius Soubise, the freed slave who became a fashionable fencer and riding master in eighteenth-century London, or the "fast-talking" "
" in nineteenth-century Cuba. At the same time, women of color have also been characterized as the jezebel, "mulatta,"or housewife, alternatively signifying rebelliousness, hypersexuality, or complacency in Latin America, the United States, the Caribbean, Europe, as well as in Africa. Even with the perennial image of enslaved black bodies, women and men of African descent also have been viewed and abused as consumers historically and globally.
Thus, each of the core themes animating this conference are broad. We challenge our
participants and audience to historicize and complicate the idea of the Afropolitan and the controversies it has engendered.
Our conceptualization of the Black Atlantic incorporates people of color and the range of communities they form among themselves and with others across the African and European continents and the whole of the Americas and the Caribbean. Masculinities also include women, third gender, sexualities, and trans- identities. Similarly, texts and histories are part of our understanding of visuality and the media. Indeed, the Afropolitan serves as the perfect
invitation to think about this crossroads of history and visual culture because, increasingly, transnational historical actors, social movements, and the politics of identity profoundly shape what we research, what we write, and what we think that we see.
This symposium aims to examine the intersections of gender, race, and visual culture, in the Atlantic, spanning Africa, the Americas, the Caribbean, and Europe, from the sixteenth century to the present. We will consider proposals that also de-center the Atlantic by treating similar themes in or between other regions such as the Mediterranean, Indian Ocean, or Pacific Ocean worlds. We plan to publish selected papers as an edited volume or as a special issue of a journal.
Submissions need not be confined to these topics, but, if possible, please indicate at least two themes that correspond to your proposal:
The Politics of Performance
Redefining the Black Atlantic
Geographies of power
Bodies of knowledge
Politics of desire
Men in Labor
Fatherhoods and Families
The Politics of Religion
The economics of citizenship
Symbolism and consumption
Criminalization and mass incarceration
Theories and Male Models
If you have any questions, please contact Rosa Carrasquillo at email@example.com or Lorelle Semley at
and include "Rethinking the Afropolitan" in the subject line. Authors of accepted proposals will be contacted by June 1, 2017 and complete papers or presentations will be due on August 15, 2017 for pre-circulation with discussants and conference participants.
Call for Submissions: Poems and Essays on Being Black and Bicultural
We are accepting submissions for a new book on being Black or African and bicultural . We are accepting submissions from authors who self-identify as Black, and who navigate multicultural Black spaces to varying degrees over time. The book will highlight the experiences of Black people with different cultural backgrounds and experiences. This includes individuals with one parent from one part of Africa or the African Diaspora, and one parent from another part of Africa or the African Diaspora, individuals with both parents born in Africa or the African Diaspora who grew up in a country other than that of their parent's birth, as well as individuals with other bicultural or multicultural backgrounds.
The book uses a Pan African lens to examine what it means to be Black or African. Meaning, what it means to inhabit a Black or African racial identity, but inhabit multiple Black or African cultural identities.
We are accepting original (previously unpublished) poetry and essays. Essays should be no more than 5,000 words and should be reflections on the experiences and/or observations of the author. For poetry, please submit no more than 2 poems.
Essays should begin by reflecting on how authors self-identify. Essays should then focus on answering at least one of the following questions:
- Have you always had a dual identity, or have you moved between both identities?
- How has being bicultural framed your identity?
- How did your adolescence differ from that of your peers?
- How has being bicultural shaped your activism?
- How has being bicultural framed what is means to be Black or African in _________ for you?
- How did being in a bicultural household shape how you were raised?
- How have your experiences shaped your adoption of one culture over the other, or your adoption of both cultures?
- How have your dating experiences or patterns been impacted by you being bicultural?
- How has your cultural background impacted how you have raised, or will raise, your children?
- How have racial constructs of ________ society impacted you?
- How has being bicultural impacted your relationship with both communities?
Submission Guidelines and Procedures
Please submit a 1-paragraph personal statement and short bio by
Deadline for the submission of completed poems and essays is
Questions and submissions should be sent to: Dr. Msia Kibona Clark, Assistant Professor of African Studies at Howard University (
), Dr. Phiwokuhle Mnyandu, Lecturer of African Studies and Zulu at Howard University (
), and Loy Azalia, PhD Candidate in the Department of African Studies at Howard University (