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The Pioneers of TransAmerican Art:

In the Footsteps of a Caribbean Diaspora Aesthetic
D. Amy-Rose Forbes-Erickson and Frédéric Lefrançois

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Video Introduction #19
Credits : All rights reserved

2Welcome to the introduction of the special series of Angles: New Perspectives on the Anglophone World, entitled “The Pioneers of TransAmerican Art: In the Footsteps of a Caribbean Diaspora Aesthetic.”

3When we think about the Caribbean Diaspora in the Americas and across the Atlantic in Europe, we consider Caribbean people and communities who have traversed borders, transcended boundaries (geographically, historically, and culturally), and have, through various methods, invented a Caribbean Diaspora aesthetic.

4The Caribbean Diaspora aesthetic is a set of unique pathways and cultural responses over periods of time and locations.

5Pioneers of this Caribbean Diaspora aesthetic are culture bearers such as artists, film makers, creatives, community activists, individuals, and scholars.

6Contributors to this special series focus on the pioneers of a Caribbean Diaspora Aesthetic, and what it means to be part of a TransAmerican Arts movement.

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References

Electronic reference

D. Amy-Rose Forbes-Erickson and Frédéric Lefrançois, The Pioneers of TransAmerican Art:Angles [Online], 19 | 2025, Online since 01 April 2025, connection on 16 June 2025. URL: http://journals.openedition.org/angles/8904; DOI: https://doi.org/10.4000/13ofq

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About the authors

D. Amy-Rose Forbes-Erickson

Bowling Green State University

Bowling Green, Ohio, USA

D. Amy-Rose Forbes-Erickson is a Caribbean American scholar, born and raised in St. Andrew, Jamaica. She is an Assistant Professor of Theatre and Performance Studies in the Department of Theatre and Film at Bowling Green State University in Bowling Green, Ohio, USA. She is the founder and artistic director of the Pan-African Theatre Ensemble dedicated to Black theatres in the African continuum featuring African, Caribbean, and African American plays and performances. Other creative works include previous sculpture and theatre design in commissions and exhibitions. Scholarly pursuits focus on the social constructs of race, gender, sexuality, coloniality/decoloniality, and Black feminisms, African and Indigenous spiritual practices, and sacred queer spaces in masquerades. Her peer-reviewed scholarly research has been published in areas of African, African American, Latin American, and Caribbean theatres and performances. She currently serves as a guest editor with Dr. Frédéric Lefrançois in the thematic issue: “The Pioneers of TransAmerican Art: In the Footsteps of a Caribbean Diaspora Aesthetic” in Angles: New Perspectives on the Anglophone World. Her book (in progress), Caribbean Masquerades as Palimpsests: A Chronological Survey from the 16th Century to the early 21st Century (Edwin Mellen Press), traces the emergence of masquerade figures in carnivals, balls, and parades from the point of contact between European conquest, and Indigenous and African peoples in the Caribbean from the 16th century to the early 21st century. She holds a PhD in Theatre: Performance as Public Practice from the University of Texas at Austin with a doctoral portfolio in African and African American Studies, specializing in African Diaspora performances.

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Frédéric Lefrançois

Université des Antilles, Martinique

Frédéric Lefrançois is Associate Professor of English specialized at the Université des Antilles. Since the obtention of his Ph. D. degree, he has produced research in Visual and Performing Arts studies (theater, performance art & film), with a keen interest in the diasporic Caribbean. His latest published book L'Autre scène du désir : Strange Fruit de Caryl Phillips, investigates the relationships between onstage postcolonial agency in the context of Black British immigration.
He is also the General Editor of NaKaN: a Journal of Cultural Studies.

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Copyright

CC-BY-4.0

The text only may be used under licence CC BY 4.0. All other elements (illustrations, imported files) are “All rights reserved”, unless otherwise stated.

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