&lt;i&gt;Dub: Soundscapes and Shattered Songs in Jamaican Reggae&lt;/i&gt; (review)

Marshall, Wayne

doi:10.1353/lat.0.0044

Cited by 1 publication

(2 citation statements)

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“…as another way to stylize an otherwise dysfunctional condition (social and economic poverty associated with low-income neighborhoods, anti-Black aesthetic ideologies). Despite hip hop's Jamaican origins (Hesmondhalgh and Melville 2002;Marshall 2005;Persaud 2011), the US "ghetto fabulous" aesthetic 1 has permeated Jamaican modern culture in the form of diffuse acculturation, mainly through mediated remote cultural exposure (Adjmul 2017;Ferguson and Dimitrova 2019), to the point where Transforming Anthropology, Vol. 31, Number 2, pp.…”

Section: The Ghetto Fabulous Aestheticmentioning

confidence: 99%

“…as another way to stylize an otherwise dysfunctional condition (social and economic poverty associated with low‐income neighborhoods, anti‐Black aesthetic ideologies). Despite hip hop's Jamaican origins (Hesmondhalgh and Melville 2002; Marshall 2005; Persaud 2011), the US “ghetto fabulous” aesthetic 1 has permeated Jamaican modern culture in the form of diffuse acculturation, mainly through mediated remote cultural exposure (Adjmul 2017; Ferguson and Dimitrova 2019), to the point where Mukherjee (2015) blames this aesthetic for being a pawn of the “imperial United States.” The admiration for and influence of African American fashion and style is clearly visible among Jamaican adolescents and young adults (Ferguson and Bornstein 2012; Ferguson and Dimitrova 2019; Ferguson and Iturbide 2013). Amid this phenomenon, phenotypic and social Blackness, along with the pressing need to outwardly display some form of decolonizing resistance, remains a commonality between the African American and Afro‐Jamaican cultures and subcultures (Thomas 2006).…”

Section: Theorizing Fabulousnessmentioning

confidence: 99%

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Fabulous Transactions: Hair Braiding in a Jamaican Resort Salon

Greensword

2023

Transforming Anthropology

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This article focuses on the commodification of Jamaican Blackness and associated images through institutionalized hair‐care services. Drawing on the notion of fabulousness (the unapologetic performance of Black feminine beauty), I present findings from ethnographic research conducted in the hair‐braiding salon of a resort in Ocho Rios. I detail how Jamaican Blackness unfolds differently depending on the consumer's demographic category: white tourists, Black tourists, and local customers. I also draw on salon dynamics to unpack the transformative power the salon holds in (1) validating and decolonizing Black beauty and femininity via what I call fabulous hairstyles, (2) normalizing Blackness for non‐Black tourists, (3) normalizing Blackness for African American tourists, and (4) creating a space where local Black women may consume resort services with the same dignity and quality of customer service as the Western tourists.

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Section: The Ghetto Fabulous Aestheticmentioning

confidence: 99%