I was born in Ponce, Puerto Rico. At a young age, my parents were my inspiration. My father is an artist and a musician. He loves to sing, play the piano, and paint things that remind him of Puerto Rico. My mother is also a talented musician who likes to sing music...
Lalita Ramnauth was born and raised in Guyana where, at a young age, she and her family discovered her natural talent for singing. Having moved to the United States from Guyana in 1992, she eventually relocated to Schenectady.  Lalita possesses a large repertoire of...
Today, I exited off the Michigan Avenue Exit ramp of Schenectady's I-890, and smiled. Looming in front of me was the mural that was created at the end of June 2024 by Raè Frasier of Art Money, three students enrolled in the Schenectady Job Training Agency's after...
Focusing inquiry on the kase, a drum pattern strongly associated with spirit possession, I compare episodes of transcendence that occur in Hall’s class [Pat Hall Dance and Movement Class, Brooklyn] with possessions that occur during the rites of Afro-Haitian Vodou, during acoustically similar if not identical performances. Reflections derive from documentation of classes; interviews with the instructor, lead drummer, and selected students; and my participation in classes. I argue that various experiences of transcendence in the class occupy points on a continuum, that the same may be true in the temple, and that an area of overlap may pertain. These statements challenge the divide between sacred and profane and bring nuance to notions of music and spirituality.
Forms, functions, and meanings of altars in Puerto Rican homes on the island or the US mainland are already well documented in association with Espiritismo and SanterÃa, two forms of Caribbean religious belief and practice. Ethnographic descriptions of the roles that dolls play within these contexts of belief are less common. In the New York Puerto Rican homes in which I was welcomed between 2004 and 2007, as a participant observer in Puerto Rican Espiritismo, altars decorated with flowers, food, water offerings, and statues of the saints co-existed with mesitas and other doll displays. Mesitas are little tables, set with offerings for the dolls who sit beside them.
The papier-mâché vejigante masks of Amil Droz Torres, an artist from Puerto Rico who also worked part-time in Saratoga Springs “were an important component of the Carnaval de Vejigantes, the annual celebration held in Ponce, Puerto Rico. Begun in 1991, but with roots...
Pura Belpre’, noted storyteller, librarian, and writer, is placed in the context of bilingual education and public folklore in New York State.
A short story based on the author’s childhood in Jamaica.
Similarities – both musical and historical – between the Puerto Rican and Garifuna communities in New York City is examined.
From the viewpoint of Sesame Flyers International, a nonportit organization providing social and cultural programs for Brooklyn’s Flatbush and Canarsie residents, Caribbean festival events are year-round. Martinez profiles this community organization and its role maintaining tradition.