Kenneth Bilby is director of research at the Center for Black Music Research, Columbia College, Chicago, and research associate in the Department of Anthropology at the Smithsonian Institution, Washington DC. He is the author of True-Born Maroons (2005); co-author of Caribbean Currents: Caribbean Music from Rumba to Reggae (1995); and author of numerous articles on Caribbean music, folklore, and language. He has also recorded, compiled, or produced fifteen albums of music from different parts of the Caribbean.
Sandra Brewster (whose art appears on the cover of this issue) is an artist of Guyanese descent whose work explores issues of identity and representation. At times referencing old photographs and using storytelling and the portrait as sources of inspiration, she draws, paints, and pieces together her visual narratives. Her recent work explores the emotions felt by a community affected by their youth’s involvement in gun violence. She holds a bachelor of fine arts from York University, is a recipient of numerous grants and awards, and has shown in a number of exhibitions in Toronto and Winnipeg, and in South Africa.
Albert Chong is professor of art at the University of Colorado, Boulder, where he teaches photography. The recipient of several artist fellowships, including a 1998 Guggenheim fellowship in photography, a 1998 grant from the Pollock Krasner Foundation, and a 1992 National Endowment for the Arts fellowship in photography, Chong has had his work widely exhibited nationally and internationally at such venues as the Venice Biennale (2001), the Museum of Modern Art (1991), the Havana Biennale (2000), and Kaoshiung International Container Festival, Kaoshiung, Taiwan (2001). He was also Jamaica’s representative at the São Paulo Biennale in 1998. A book of his photographs, Ancestral Dialogues: The Photographs of Albert Chong, appeared in 1994.
Andrea Chung is a multimedia artist. She holds a bachelor of fine arts from Parsons School of Design in New York and a master of fine arts from the Mount Royal School of Art at the Maryland Institute College of Art in Baltimore. Her work has been shown in the exhibition “NEXT” at Art Chicago and in “Off Color,” curated by Hank Willis Thomas and Kalia Brooks, at Rush Arts Gallery in New York, as well as at Conner Contemporary, Washington DC; the Arlington Arts Center, Virginia; the Sonya Hayes Stone Center, University of North Carolina at Chapel Hill; and the Gateway Gallery, Maryland Institute College of Art. She attended the Skowhegan School of Painting and Sculpture artist residency in 2008 and is a recipient of a 2008–2009 Fulbright scholarship to Mauritius. [End Page 229]
Rex Dixon is a painter trained in a number of art schools in the United Kingdom. He was visual arts officer at Midlands Art Centre, Birmingham, from 1972 to 1977. He taught painting as a full-time lecturer on the bachelor of art course at the New University of Ulster, Belfast, prior to teaching since 1985 in the painting department of the Edna Manley School for the Visual Arts, Jamaica. He has exhibited extensively in the Caribbean and internationally and represented Jamaica in the second and third Biennale of Caribbean and Central American Painting, the Museum of Modern Art, Santo Domingo, Dominican Republic. His work can be seen in the permanent collection of the National Gallery of Jamaica and at the library of the University of the West Indies, Mona. He lives in Trinidad.
Glyne A. Griffith is associate professor of English and chair of the Department of Latin American, Caribbean, and US Latino Studies at the University at Albany, State University of New York. He is the author of Deconstruction, Imperialism, and the West Indian Novel (1996), editor of Caribbean Cultural Identities (2001), and coeditor (with Linden Lewis and Elizabeth Cresbo-Kebler) of Color, Hair, and Bone: Race in the Twenty-First Century (2007). He is finishing a book on Henry Swanzy and the BBC’s Caribbean Voices program.
Mike Hill is associate professor and chair of the Department of English at the University at Albany, State University of New York. He is the author of After Whiteness: UnMaking an American Majority (2004), and editor of Whiteness: A Critical Reader (1997) and Masses, Classes, and the Public Sphere...