“Roll It Gal”: Alison Hinds, Female Empowerment, and Calypso

Black Women's Bodies and The Nation

“…In Barbados the 'wukkin up' in Calypso is regarded as inappropriate and disrespectful by the middle/upper classes and Church morality because of the over-sexualization of women's bodies rather than being seen as dance for aesthetic pleasure (Springer, 2008). However, for Jennifer Thorington Springer (2008), calypsonian Alison Hinds reclaims calypso and its dance forms as women's empowerment because she expands existing definitions of womanhood through reinventing the female body.…”

“…However, for Jennifer Thorington Springer (2008), calypsonian Alison Hinds reclaims calypso and its dance forms as women's empowerment because she expands existing definitions of womanhood through reinventing the female body. In doing this she valorizes the 'wuk up' as an art form, as part of a Caribbean culture that repudiates colonial ideologies which would locate it as vulgar and disrespectful and challenges androcentric representations of women (Springer, 2008). As for soca and dancehall, Bajan calypso creates subjectivities that directly challenge respectability by calling on the legacy of the rebel woman refusing to be defined by colonial measures of worth (Springer, 2008).…”

“…In doing this she valorizes the 'wuk up' as an art form, as part of a Caribbean culture that repudiates colonial ideologies which would locate it as vulgar and disrespectful and challenges androcentric representations of women (Springer, 2008). As for soca and dancehall, Bajan calypso creates subjectivities that directly challenge respectability by calling on the legacy of the rebel woman refusing to be defined by colonial measures of worth (Springer, 2008). Male calpysonians call to men to find a woman's bottom to 'wuk up on' while Hinds challenges men to keep up with her 'wukkin up'.…”

“…Male calpysonians call to men to find a woman's bottom to 'wuk up on' while Hinds challenges men to keep up with her 'wukkin up'. Audiences have wondered whether Hinds's bottom was real and its prominence has both intrigued and disgusted audience members, which points to the cultural importance of the behind and the ability to roll it in contradistinction to discourses of respectability which would see the bottom disappear from the public sphere (Springer, 2008). As she moves Hinds looks back at her bottom gyrating skilfully as does the audience as they 'wuk up' calling attention to their rear ends (Springer, 2008) in Kallipygos fashion.…”

“…Audiences have wondered whether Hinds's bottom was real and its prominence has both intrigued and disgusted audience members, which points to the cultural importance of the behind and the ability to roll it in contradistinction to discourses of respectability which would see the bottom disappear from the public sphere (Springer, 2008). As she moves Hinds looks back at her bottom gyrating skilfully as does the audience as they 'wuk up' calling attention to their rear ends (Springer, 2008) in Kallipygos fashion. The bottom whether in the 'wuk up', 'wine' or 'griin' modes is a resource for redirecting the gaze which has been and is a site of resistance for colonized black people globally.…”