Caribbean cultural tourism is deeply entwined with American empire and its transoceanic mobilities, yet transnational Caribbean cultural production constantly exceeds and escapes such limiting constructs. Music and dance are some of the greatest enticements of travel around the Caribbean region, both for the artists who produce that music and for the audiences who participate in it. In many ways, the Aluminum Corporation of America (hereafter ALCOA) was spreading mid-century American Empire through cultural promotion of Caribbean arts, music recordings, and cultural tourism-imagined as access to a kaleidoscopic archipelago of sounds, rhythms and inviting styles of dance. However, Caribbean music creators and consumers also had their own transnational cultural agendas and musical itineraries, suggesting their competing constructs of a transnational musical space. How did the archipelagic imaginary of Caribbean tourism intersect with, interfere with, or otherwise intensify the intraregional and transnational artistic and musical mobilities that imagined the archipelago on different terms? In this essay, we combine the insights of a cultural sociologist (Sheller) and a musicologist (Martin) to interrogate the meanings of the first Caribbean Festival of the Arts (hereafter Caribbean Festival) in shaping divergent archipelagic spaces and competing musical itineraries and Black Atlantic soundscapes, both imperial and anti-imperial.Following musical production, dance performance, and cultural tourism marketing around the Caribbean and into North America, we argue that beneath the currents of imperial transnational tourism and cultural consumption there were also countermobilities forming an "alterNative archipelagic" imaginary that connected the