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Drawing from the work of Jamaica's Gay Freedom Movement (1977–84), this essay uses the term gaydren to consider the basis for activism around same-sex desire in Jamaica in the 1970s and 1980s. Gaydren is a combination of gay, a North Atlantic reference to subjects of same-sex desire, and bredren, a word initially constructed in Rastafarian lexicon as a masculinist expression of collective solidarity. Examining the construction of gaydren highlights the cultural work of Jamaican activists as they transform North Atlantic political discourses to align with the particular contingencies of sexual politics in Jamaica. As a form of political practice, gaydren challenges normative configurations of bredren and gay that emerge from political contexts that oppose white imperial domination to consider more nuanced approaches to both Jamaican and North Atlantic cultural influences.

Drawing on 2 years of ethnographic fieldwork, this article examines the accessibility organizing efforts of queer and transgender of color community initiatives in Toronto, Canada. I argue that these efforts constitute a kind of counterpublic making in which queer and trans of color organizers discursively construct the marginalized populations that they seek to include. In contrast to approaches to accessibility that prioritize conventional service institutions as the locus of social transformation, this article illustrates the significance of social workers supporting the work of existing community initiatives in their drive toward an intersectional politics of inclusion.

Based on ethnographic research in Toronto, Canada this article considers how queer and trans of color community arts initiatives come to exist as temporal phenomena. Given the association of racial, sexual, and gender nonnormativity with temporal backwardness, these organizations serve as a useful site to examine how temporal regimes are composed. Drawing on the work of grassroots queer and trans of color community arts initiatives, I show how the short-term, youth-based nature of these efforts is intimately tied to mechanisms of state funding and to the feelings-based relationships that characterize community work. I argue that in their bid to transform their initiatives into sustainable, intergenerational organizations, queer and trans of color organizers must work to change the affective and political economic contexts in which these initiatives exist. By positing the commensurability between "love" and "money" and using the framework of temporality to draw them into the same analytic space, I contribute to existing studies on emotional labor by disrupting Enlightenment logics that separate "spirit" from "matter." Ultimately, I examine the political ramifications of enacting normative models of temporal development to explore a queer approach to change over time.

This essay serves as an introduction to a suite of essays exploring the significance and resonance of Charles V. Carnegie's Postnationalism Prefigured (2002). The occasion for these reflections is the twentieth anniversary of the publication of the book. The authors' discussion examines the place of Carnegie's work in relation to questions of Caribbean intellectual genealogies. They locate him multiply: as a student of the 1960s generation and as a scholar in his own right among a cohort of critics writing at the turn of the century. They also examine and reflect on the ongoing importance of Carnegie's scholarship.

This essay examines discourses of homosexuality in late colonial Jamaica through an analysis of the 1951 Police Enquiry, which leveraged accusations of homosexuality among Jamaica's foreign police officers as a key component of its investigative work. With information from Jamaican state records, news media, literature, and social science studies, the essay argues that the inquiry mobilized divergent discourses of homosexuality across the Atlantic to enact an anticolonial nationalist form of sexual regulation. The inquiry drew not only from Jamaican figurations of homosexuality as the preserve of wealthy white foreign men but also from the Wolfenden Committee proceedings that led to the decriminalization of homosexuality in England and from the "Lavender Scare" that purged homosexuals from federal government employment in the United States. Despite its failing to reform Jamaica's police force, the inquiry nevertheless foregrounds how sexual regulation operates through the interconnected workings of race, class, gender, and nation.

This paper examines how Japanese Canadian (JC) artists challenge discursive limitations of constructing representations of JC pasts. Their interventions into JC history-making are significant given the rise of interest in and proliferation of JC historical accounts, partly as a result of the accelerated passing of the remaining survivors of JC incarceration within a broader context of unsettled and unsettling discourses around incarceration in JC families and communities. Contrary to narratives of JC history premised on the conventions of academic history writing, we explore how JC artists engage with the past through their creative practices. Focusing on JC artist Emma Nishimura's exhibit, The weight of what cannot be remembered, we suggest that JC creative history-making practices have important implications for processes of ethno-racial and-cultural identity formation. In so doing, we decenter state-bound history-making processes that reproduce colonial frameworks of JC subjectivity, temporal linearity, and "objectivity." Instead, we focus on the temporally circuitous way that Nishimura and other JC artists engage with the past through the idiom of personal intimacy in ways that facilitate a more expansive notion of JC identity and community. Though Nishimura's work is indexical as opposed to representative of contemporary JC art-making, it is significant in tapping into a common structure of feeling among JC artists that emphasizes a notion of JC'ness rooted in the active struggle to establish a relationship with the past. In attending to Nishimura's work, we highlight the productivity of art-making as a method of (re)storying to expand meaning-making endeavors within and across communities.

SummaryInterdisciplinary contributions to social work have supported the profession's development as a helping profession. Indeed, drawing from other disciplines has been a way to hone intervention approaches. This article analyzes the history of social work's use of anthropological theory about "culture" in order to critically examine the profession's positioning as a "recipient" of theories. At a time when evidence-based practice is a dominant ideal, this paper offers an opportunity to step back and interrogate a key concept, culture, that is often evoked as interventions are tailored for various populations.FindingsWhile social work has substantially debated and revised how it approaches culture difference, the core conceptualization of culture as a relatively static set of shared values and traits remains ill-suited to the complex negotiation of diversity in social work practice. The limitations of the culture concept are symptomatic of an exchange relationship with anthropology that positions social work practitioners primarily as recipients of concepts, rather than as interlocutors.ApplicationBy treating intervention as an opportunity for theory revision, anthropologists and social workers can better account for the hybridity, change, and contestation of difference in social work practice. As the social work profession expands globally, a more dialogical engagement with anthropological theories about culture and other key concepts may prove fruitful.