Introduction
As I was scrolling through Facebook on Thursday evening (Christmas Day), I got an alert from ZNS that the Boxing Day Junkanoo Parade was about to begin which would be aired on their YouTube channel.  I looked at the time—it was a little after 9pm. I was befuddled. I turned off the Christmas movie that I was watching on Tubi and tuned into the parade.
 
Listening to the cohosts banter, I waited to hear why the change took place. The Hon. Mario Keith Bowleg, Minister of Youth Sports, and Culture shared that the rationale for the change was based on the desire to include more of the youth and family in the audience—hoping that this parade would be a seamless transition from the Junior Junkanoo Parade for those wanting to continue their passion. 
 
There were many positives from the parade. I loved seeing the leadership roles of the women and female representation of the Junkanooers beyond the dancing elements! The talent is undeniable. Congratulations to the groups, sponsors, and the winners in their respective categories.  Aesthetically, the costumes were beautiful and vibrant, the dancing in many of the groups was nice, the music was pulsating and rhythmic, and the effort of the Junkanooers was evident but, we can’t depend on these elements to override the issues that this parade has had for years—LACK OF PRODUCTION QUALITY AND PROFESSIONALISM. 
 
Positionality
I enter the chat, speaking on the production aspect, rather than my usual discourse which is focused on cultural movement experiences. I am certain there are others who will offer reviews on the music, dance, and other elements. 
 
My background is rooted in dance and performance studies, dance education, writing, curriculum design, and anthropology—and my research focuses on Caribbean cultural performance. I invite you to Google me and read my journal articles and book chapters on Junkanoo, Dancehall, and Carnival as praxis and/or my blog posts (www.caribfunk.com/blog) on African Diaspora performances if you need more background information on my qualifications. 
 
Production Quality and Professionalism
Bahama Land, we have a problem. As someone who has tuned in online consistently for the various parades over the years, I can confirm that the issue with production is a GLOBAL concern, as expressed by the online viewers in the chat and on social media. 
 
We must first ask ourselves, what makes an event or phenomenon “worldwide” or “world stage”? Do we want to become a worldwide success or an embarrassment? During the 11 HOUR PRODUCTION, I heard several people say “world stage” or refer to the parade as “world class.”  How are we world stage when we continually fall short of the elements which would deem this event as such? The production element is a continuous problem, and we can’t move forward if this isn’t seriously addressed. Again, you can’t depend on the music, dance, and costumes to override the LACK OF PRODUCTION QUALITY AND PROFESSIONALISM. 
 
The overall and dominant issue that many voiced online in the chat or on Facebook were the huge gaps in between the groups. I have my own ideas about why this occurred based on my observations over the years. I will also share what Facebook Social Activist CA Newry offered on his page as to why there were issues with the flow (and they are all related). Again, this is a production issue. It was clear that certain groups were not in place. My first questions are:  who is the production team, what is their experience, and are there (strict) call times for the performers? 
 
I can confirm that in the world of professional dance, as a performer, educator, and choreographer, if you miss the call time and/or warm up, in most instances, you will not perform. How is this handled for Junkanoo? I read that a certain group was penalized for being late, but what is the penalty? Are they consistently late? If so, why and how can it be rectified? 
 
From the production perspective (western construct), regardless of your start time, you only have a certain amount of time to be in the space/at the venue. If you exceed that time, you will pay a hefty fee, and the lights will LITERLLY be turned on. Meaning, regardless of whether you are completed performing or not—the show is over. There are rules and protocols in place to respect the artists, staff, union members, and patrons. To expect people to sit for 11 hours for an unorganized production is ABSURD.  I began watching at 9pm and tuned off at 2am, right before the first Valley Boys group (this is another issue but that’s a conversation for another day) was getting ready to go on. I woke up at 6:45am and tuned back in and Genesis Warhawks was just coming out the gate! How is this possible? 
 
My next set of questions are: Has the production been timed and/or rehearsed (in its entirety)? From a world stage perspective, any performance and/or production, whether it is a fashion show, the opera, a wedding, graduation, concert, beauty pageant, or cultural festival—EVERYTHING IS REHEARSED AND TIMED. How long is each group’s presentation? All these elements go into production to ensure that the presentation is a success. 
 
In addition to the issue with groups readiness, there are other variables. There are many more groups now and some groups are massive, which poses yet another challenge. Yes, Junkanoo has evolved, as it should, but so should the process/procedure in terms of how the event takes place, including how to accommodate the groups, and what are the best practices to ensure a wonderful experience for the viewer (both live and virtual).
 
Culture of Slackness
CA Newry Posted this:
Things I watched happen at Junkanoo…
1. Prodigal Sons came late and were penalized. (I just happy that they rushed).
2. Barabbas was indeed locked up for a minute; (he carried on like an ass when the Grand Marshall changed his mind and did not allow his group to rush when scheduled). 
3. There were several long ass waits between groups. (This is one of the reason[s] why Barabbas carried on like an ass on Bay [Street] and police had to lock him up. Barabbas realized that no group was prepared to rush after 30-45 minutes after the Prodigal Sons had passed Rawson Square and sought permission for his Junkanoo group to exit the gate, to minimize the delay. Permission was granted, then it was rescinded; then whap, Barabbas locked up!)
4. All the fun groups were moved up to fill in the gaps.
5. A number of Junkanoo groups were in no rush to leave the blocks to start the parade.
6. Several big trucks blocked the staging area when the Valley Boys were suppose[d] to start.  (Costume Trucks were allowed on Bay in the middle of the flipping parade causing huge delays).
7. The police has their own parade of would-be criminal[s] marching along the main Bay Street. Of course this too caused delays.
 
If we are honest, (for some) this concept of slackness is a Bahamian mindset, and it does not work on the global stage. Many of the things he lists are unacceptable and rooted in carelessness, negligence, and lack of discipline and respect. 
 
Furthering this notion of slackness, I believe a conversation around Ritual, Culture, and Tradition is important. Let’s define these terms: Ritual is an action that that is performed in a prescribed order. Culture are the customs, beliefs, and values shared by a group or society. Tradition are the inherited patterns, beliefs, and practices of a community or society. How does this relate to the discussion? It is relative to the society because this (slackness) has become the culture of (some) Bahamians, as this has become a common practice for many. It has been transferred to several facets of the community as we witnessed in the parade by the organization and by some of the groups; and it is a ritual that we see every year. 
 
Africanisms
When the drums beat, and the spirit calls, you’re mounted, there is no resistance. The body responds. It is undeniable. (A. Carey)
 
I want to shift the discussion to Africanisms for a minute. Junkanoo is an African spiritual practice, for the participants—dancers and musicians, as well as audience/viewer and there are elements that are included in African performance such as: call and response, marathoning (events that go on for hours, days, or longer), multiple foci, improvisation, the aesthetic of the cool (the contrast of hot/engaged and cool/detached movement), ephebism (power, vitality, attack, drive, and flexibility), and cultural fusion [1].
 
Another comment of CA Newry’s page by “Anku Sa Ra” attempted to justify the lulls as a part of the African practice stating “The lulls present an opportunity for the management team to bring in other forms of entertainment, instead of trying to change what will never change…why don’t we listen to what we call our culture instead of forcing it into a commercial and competitive space…are we honoring our ancestors or honoring the fans…we can do both…”
 
The parade has taken on a western construct, demonstrations of this are: it is a competition, people have paid to view the parade/ritual, it is live streamed, and accessible to the world which is NOT the case in many traditional ritualistic African practices. 
 
In African spiritual practices, there are preparations/rituals that occur in terms of drumming, dancing, alter preparations, praying, libations, etc. that I am not sure if group members are engaging in these prior to their performance. If you’re late to the parade, YOU WOULD NOT HAVE TIME TO PREPARE. So, there are many things that are missing from the African practice/tradition to claim Junkanoo in 2025 as such.
 
Suggestions

1. The groups need a call time, and they should be penalized (either points lost, financially, or loss of participation for repeat offenders). This is the main reason why there are delays also, the performers are not in other groups so, there is no need to slow things or wait for anyone or anything. Once a group hits a certain point, the next group should be lined up and ready to go.
2. 2 laps are ideal but not feasible with the current construct. A second lap allows the performer to get grounded in their artistry, allowing for the rich and carefree execution which occurs once the jitters and kinks have been worked out. 
3. A timed run through for each group is necessary so that there is an estimated time stamp for the production.
4. Performance times need to be cut—what can’t be done in 30 minutes won’t be done in 50-70 minutes. You must come out the gate ready, energized, spirit filled, and engaged. Most groups that I observed had a slow start and picked up towards the middle (bleachers).
5. The production team should be qualified and experienced (in production).
6. The hosts and interviews seemed improvisational and unscripted—follow the script and/or teleprompters. 
7. There was more ariel coverage with the drones (which is great to see the formations and transitions, but not enough on the ground coverage to capture the performers movements and embodied expressions. 
8. CA Newy’s comment that “Several big trucks blocked the staging area when the Valley Boys were suppose[d] to start.  (Costume Trucks were allowed on Bay in the middle of the flipping parade causing huge delays). SLACKNESS! WHO ALLOWED THIS TO HAPPEN?
9. “A number of Junkanoo groups were in no rush to leave the blocks to start the parade.” SLACKNESS! WHERE IS THE SENSE OF URGENCY AND RESPECT FOR THE PRODUCTION?
10. Audience participation: I observed MANY people standing on the bleachers or sidelines stone faced, stiff body, and looking straight forward. Where was the spiritual presence or connection? The drum has no favorite group. Why are you there if you’re not experiencing the music and dance kinesthetically (in your body)?

 
Conclusion
“We all and I speak for myself as a Bahamian, I am left disappointed after watching this year after year and the Junkanoo committee missing the mark, not living up to the standard to be world class and ready for prime time. We can do better.”  (Sidney Carey, Oklahoma)
 
In an article posted on Eyewitness News[2], “The National Junkanoo Committee acknowledges concerns raised by patrons and participants regarding delays and gaps experienced during this morning’s Boxing Day Parade…” stating “Initial reviews indicate that parade flow was affected by a combination of factors, including route obstructions, sequencing and readiness challenges, and isolated incidents requiring law enforcement intervention,” the statement said. “These issues occurred at different points along the route and collectively disrupted timing and spacing.” THIS IS A YEARLY CONCERN so what are you going to about it?
 
Will these things be addressed by next week’s New Years parade? Probably not. There are systemic and cultural issues that need immediate intervention which unfortunately cannot happen overnight without deep changes in the mindset of the community and with those that make the decisions. We also need to determine what elements from the western and African traditions we will honor and implement to make this a world class/world stage event.
 
References
Article image: Our News Bahamas (12/27/25). https://ournews.bs/a-new-king-on-bay-street-from-struggle-to-sweet-victory/
 
[1] Gottschild, Brenda D. 2002. “Crossroads. Continuities, and Traditions: The Afro-Euro-Caribbean Triangle.” In Caribbean Dance From Abakua to Zouk: How Movement Shapes Identity, ed. Susanna Sloat: pgs. 3-10. Gainesville: University Press of Florida.

[2]https://ewnews.com/national-junkanoo-committee-addresses-boxing-day-parade-delays/?feed_id=10839&_unique_id=694ef04adfd56&fbclid=IwZnRzaAO70-RleHRuA2FlbQIxMQBzcnRjBmFwcF9pZAo2NjI4NTY4Mzc5AAEeF6cYICGjih583Yc4rzNbCHnaKMMOKvpb6ncm7Py-qVBHmMc6TrFPfNxYK6k_aem_mX6KJ9W2cOZQEAnYC2JTFQ
 

When Clarence Brooks invited me to the November performance of Apollo at the Broward Center of the Performing Arts, I thought of ways I could approach viewing the work. I have witnessed (on Facebook) Clarence prancing around New York City from dance studio to dance studio and performance to performance—as a student and performer. This piqued my interest because, selfishly, I wanted to know how Mr. Brooks was managing this very full schedule, particularly as a seasoned performer, what was his daily routine, and how he was taking care of his body? To answer these questions, I interviewed Clarence a week before the performance. Our chat began with his life post-academia, how he was transitioning to life in NY as a full-time professional dancer, and what led to his decision to move up north? 
 
Several years ago, Clarence shared with me that while working as a Professor at Florida Atlantic University, he became extremely ill, having developed some type of allergy that closed his throat, produced violent coughing episodes, and other bodily issues. This went on for several years and seemed to be caused by the building he worked in (or maybe it was the people). In any event, it was time to get out of there. He informed me that he selected 10 cities to be potential new places of residences, and New York just made more sense.
 
Clarence is currently freelancing with 6 dance companies, several of which he had previous relationships with. He states, “I can vouch for the fact that the dance world has changed and made space for senior citizens.” Clearly this is accurate because Mr. Brooks is twirling all over the place. Let’s go back to the question about “daily practice.” Sir, what the hell are you doing? Clarence stated that he is a huge advocate for self-care and that “he does 30 minutes of something every morning” before he leaves home. This is in addition to the dance class he takes 3 times a week which he says helps with “the practice of picking up choreography at 65 years old.” It seems like Clarence is on the right track for Alzheimer’s prevention by practicing a healthy lifestyle and diet with his vegan diet, participating in Simonson Technique, and resistance training; health management through staying on top of his medical appointments and; mental stimulationthrough his very full dance schedule. 
 
My interest in Clarence, prior to seeing the performance was in perfect alignment with the ethos of the work, “reimagining who gets to be seen and celebrated on-stage” (PWC). Seeing Clarence on social media, I was drawn to the aging body (as well as my own experiences as I am approaching the half century mark), how it is perceived on stage, how it finds its way on stage, and how the body is cared for. Clarence states, “this is one of the most impactful pieces I have ever participated in” and after seeing the work I can understand this sentiment. There are so many poignant moments about legacy, purpose, care, compassion, and questions about purpose and relationships that arose. 
 
Clarence brings this wealth of experience and bodily awareness to the Pioneer Winter Collective (PWC) and the performance of Apollo. “Pioneer Winter Collective (PWC) is a critically acclaimed Miami-based dance company known for creating queer, intergenerational, physically integrated (disabled and non-disabled performers), and experimental work that reimagines the possibilities of dance” (PWC).  The cast, Clarence Brooks, Octavio Campos, Frank Campisano, and Pioneer Winter is multigenerational and tackle “queer dynamics, memory, HIV/AIDS” (PWC) and systems that reject or denounce aging through biomythography, a term coined by Black queer writer Audre Lorde that fuses biography, history, and myth to examine identity. 
 
The dancers, dressed in variations of white costumes, Clarence wearing a white tunic, Octavio in a white jumpsuit with sleeves, and Frank in a unitard with straps designed to show off his muscular build. The costumes, microphone, flashlight, and video camera had rhinestone/BLING accents on them, adding to the ethereal mood. Props carried meaning, the inflated/deflated ball, silver box (of regret, the coffin, the giver/receiver), camcorder, flashlight, and microphone. 
 
The performers beautifully shared their stories, making profound statements:
 
Clarence: “I know everything. I have lived everything, so, I know bullshit when I see it.”
Octavio: “I love holes…loop holes…fox holes…manholes.”
Frank: “I have lived through things that have killed most.”
As we listened to the names of men being called, I wondered who they were. It was later discussed in the post-performance discussion moderated by PWC Board Member and Founder of Maven Leadership Collective Corey Davis, that they were associated with the performers in various relationships. Another memorable moment was the discussion of HIV/AIDS—some of the performers discussed living with the disease and reflected on those who have crossed over.

After the performance, as I waited for Clarence to finish talking, an older gentleman named Jeff engaged me. We spoke about the performance; I informed him that I was writing a review on my blog (www.caribfunk.com/blog) in which he stated that he saw it at Miami Light Project in Miami Shores. I shared that the intimacy of the space works brilliantly and that there are so many great moments of reflection, humor, and introspection. What was most interesting was when he asked me if I thought heterosexuals would appreciate/enjoy the show. I am reminded of Octavio quote which speaks to legacy, “Making art isn’t just about you, it’s about carrying the legacy not just for yourself but for all of the maricon’s who came before you.” This is my takeaway and what is a transferrable concept for all. 
​
Performers
Clarence Brooks
Octavio Campos
Frank Campisano
Pioneer Winter
 
Sound Design & Composition
Diego Melgar
 
Projectionist 
Steve Covey
 
Dramaturgy
Karina Batchelor Gomez
 
Photographer: Passion Ward (1-4_)
Image 5: Pioneer Winter
Image 6: Clarence Brooks
​

What happens when the community gathers in solidarity, standing 10 toes down, fighting, not only for the full restoration of 12.8-million-dollar budget cut to arts programs and cultural grant funding from the Department of Cultural Affairs (DCA), but for the outright disrespect to communities of color by this unconscionable plan? It is particularly egregious because those that contribute immensely to the cultural fabric of south Florida will be impacted the most by these cuts. 
 
Survival and Quality of Life Are at Stake for Many
When the news broke about this budget proposal which decimated funding, the Miami arts community activated, coming together on a WhatsApp group chat titled “Arts Action Miami,” not only to discuss and vent, but to strategize. Meetings, sessions, townhalls and virtual discussions were planned and attended. But, the gag is that this new plan includes merging DCA with the library (make it make sense ya’ll). Miami-Dade County Mayor Daniella Levine Cava, county commissioners, and the Deputy Directory of Cultural Affairs, Ashlee Thomas attended many of these sessions (organized by them). They spoke about their plans, which also included increasing the sheriff’s department budget (side eye) as well as reducing funding for programs that support housing and community development as well as small businesses. 
 
The community was outraged, rightfully so. As, I listened to the community members discuss their plans which included organizing interviews and sharing social media posts; and, as I read various articles, I noticed a common thread, there was no Black representation.  Those of us who live in south Florida understand the dynamic of race and that MANY Hispanics/Latin (o/as) who are white presenting (or not), do not identify as Black, therefore benefiting from white privilege and denouncing Black identity. But that’s a conversation for another day. It became very clear that there needed to be a discussion that centered the voices and experiences of the Black community—artists, educators, funders, presenters, consumers, parents, grant writers, and business owners to speak on how these budget cuts would affect them. It was disturbing because not only is there erasure of our faces and voices in terms of advocating for our community but, it also speaks to how south Florida is represented (culturally) globally. I began to ask my colleagues, “where is Black Miami?” Where are the artists, dancers, and communities such as Little Bahamas, Goombay, Junkanooners in Coconut Grove, Dance Africa, Afro Cuban, Afro Brazilian, Afro Peruvian, Jamaican, and Haitian? Where are the recipients of the Cultural Affairs funding? 
 
Pressure Buss Pipe
Within the last week or so, due to the community galvanizing through petitions, calls and emails to the mayor and commissioners, showing up in person and virtually to protest these cuts, the mayor has “recovered” $66 million to be used for the 2025 -2026 fiscal budget to restore community grants, projects, and initiatives, this also includes keeping the Department of Cultural Affairs (DCA) as an independent agency. But we understand that this is a short-term solution. This is not a consistent or recurring budget, which means we will be back here again next year if this proposed budget is voted on and approved on September 18th by the commissioners. 
 
As a final activation townhall before the September 18th vote, many community members met at the Little Haiti Cultural Complex (LHCC). Flyers were sent, social media posts went up, calls were made, people were on the ground doing the work to get the seats at the LHCC filled by community members as well as Mayor Daniella Levine Cava, county commissioners, and the Deputy Directory of Cultural Affairs, Ashlee Thomas. Sadly, only Thomas showed up. How is it that the mayor and the commissioners were no shows when they were present to all the other events? 
 
In true artist form, the show went on. Organizer, Brittany Williams welcomed us and Dasha Saintremy, manager of the Little Haiti Cultural Complex (LHCC) ushered us into a peaceful demonstration with a powerful spoken word about “keeping the legacy alive” beginning with a poem titled “Art is the 4th Pillar” acknowledging the indigenous peoples who invested their time, bodies, and artistic contributions to the lands articulating that “this land is not ours to claim, but it is our duty to respect.”
 
Loni Johnson served as moderator, in perfect symmetry and in alignment with Saintremy’s ancestral recognition, she poured libations in acknowledgment to our ancestors.
Asking the audience to stand, we were guided to “Just take this moment to take a collective breath to acknowledge those that came before us…” As Black folk, who are truly connected to the culture and spirit, it is understood that we stand on the shoulders of our ancestors and recognize their power and the need to pay reverence. 
 
Artist, educator, and activist Michelle Grant-Murray, dressed in a vibrant yellow flowing ensemble, embodying Oshun, offered an ancestral call, educating some and reminding others that “we call on spirit, so that we invite the spirit in to protect us.” She began the discussion of storytelling, inviting the audience to speak, as griots, addressing the damage that the proposed budget cuts will create to our communities.
 
Performance artist Lucko Brono gave a power point presentation showcasing his artwork. Artist, educator, and scholar A’Keitha Carey was next on the mic, speaking of her experience in various facets of the arts (performance, education, curriculum design, grant writer, and dance critic) emphasizing the need for dance writing and archiving, enlightening the audience about the erasure that our community experiences when there is no one writing about their work.
 
Next, Loni Johnson and Ashlee Thomas took the stage allowing for Thomas to speak to her knowledge of what’s happening from an administrative perspective and what her feelings were about what’s going on, particularly as an artist.
 
State Representative Fabiàn Basabe (District 106) made an appearance speaking about corruption on these boards (chile, no comment!).
 
The Call Out
Brittany entered the space charged up, shuffling empty chairs around, reminding us that representation and diversity matters and the diversity that took place at the LHCC did not exist in the previous meetings (virtual) stating, “we come from many different walks. The real reason they are not here is because we control the agenda. They have shown up to 18 townhalls that they controlled and told us what they wanted to tell us….”  She continued to speak on our voice and our power, reminding us that we are their constituents, and to exercise our power in the voting booth. She went on to say that “we need a lifetime endowment of the arts.” Yes ma’am!
 
After that powerful call to action encouraging us to activate, Black Miami Dade founder Nadege Green spoke from the audience educating di people dem, informing us that “the oldest arts space in Miami is a Black space, it is the Lyric Theater in Overtown, built in 1913.” She was dropping nuggets left and right as she spoke about the “investment in the Black art community, and that our communities do not get funded in the same way and have never been funded in the same way and so these cuts have a disparate impact because it was never equal to begin with.” She stepped on toes and corns and had some people clutching their pearls when she stated that the New World School of the Arts model was build off the Northwestern High School model. You bettah come with the history!
 
Why Are We Here Again?
Between1994 and 2016, there have been 104 publications written on various topics such as: 
arts inclusion in education; the social impact of participation in the arts; arts and healthcare; arts and economic growth; the effects of music and movement on mother–infant interactions; the role of creative industries in industrial Innovation; the arts and human development; the social benefits of engagement with culture and sports; and the impact of arts education on the cognitive and non-cognitive outcomes of school-aged children (artfund.org).
 
The research has been done for decades and we have seen the positive impact, so, why are we here AGAIN? What this budget cuts proposes will risk and reduce the quality of life for many communities, damaging us/we/them/us on a surface and cellular level for decades. 
 
“…Research demonstrates significant correlations between an accessible and well-funded arts and culture landscape and a vibrant community overall. We found that people living in …communities with many cultural resources are MORE CONNECTED, MORE INVOLVED in helping their communities, and have MORE ECONOMIC OPPORTUNITIES. We also found that positive economic connections to arts resources, like funding, have even STRONGER OUTCOMES IN RURAL COMMUNITIES” (artfund.org).
 
Arts are not optional, they are fundamental, intrinsic, endemic, and a vital part of our culture, community, and existence. The arts make better humans…PERIODT!
 
In conclusion
It takes more than saying, I love art, or my daughter danced, played the piano, or the violin. You must have a global perspective and cultural appreciation of these forms, be empathetic of the experiences of our communities, and be willing to confront inequities, dismantle systems of power, and protect vulnerable communities that will inevitably become destabilized due to this level or erasure.  
 
Image 1:  Loni Johnson & Ashlee Thomas
Image 2: Dasha Saintremy
Image 3: Loni Johnson
Image 4: Michelle Grant-Murray
Image 5: Lucko Brono
Image 6:: A’Keitha Carey
Image 7: Fabiàn Basabe
Image 8 Tawanna Hall
Image 9  Iman C
Image 10: Unknown
Image 11: Unknown
Image 12: Dr. Valerie Patterson
Image 13: Mo Beasley
Image 14: Brittany Williams
Image 15:  AC & TCS
 
 
 

90+ degree weather, a complimentary ticket, and overwhelmingly stressed—what a combination. On Sunday, July 20th, I decided to push past my personal issues and let “di music” and “di dance” offer healing and calm for my body, mind, and spirit. What a juxtaposition, right, considering the brutally loud sound, flashing lights, and mix up of people, smoke, and colors that make up the Dancehall space. But that’s the power of Dancehall.  
 
I arrived around 6:30pm at the Miramar Regional Park Amphitheater; the sun was still pipin’. As I parked and made my way towards the entrance gate, I noticed how sparse the parking lot was. As my friends and I entered the venue, I could see why. There were not many people at the event, which began at 3pm so, 3.5 hours later, why di people dem still ain’t reach? 
 
As we approached the area, I observed the crowd eating as well as some women dressed in black fishnets and variations of black bodysuits, I assume that they were working the event—maybe bottle girls. Some folks were walking around—others were dancin’ and sippin’ on sumptin’. I noticed that they offered shrimp and fries but when we approached the stand, we were informed that the only food that was available were wings and fries. I saw people eating rice, some kind of meat and cold slaw. I ended up just ordering fries and some island (brand) pineapple drink (with no carbonation). As we walked off, I asked a woman where she got her food—she informed us that it was on the other side of the event space. Turns out that “Pepper Seed Jamaican Cuisine” was giving out free food. I got a small serving of rice n peas with brown stew chicken gravy. 
 
The 2K Mix Mixers line up included DJ Nicco, DJ Calli B, DJ Timmy, Willy Chin, and Buzz, playing a mix of Dancehall, Soca, Hip Hop, RnB, and EDM. The old school RnB vibes that they were playin’ was nice. 
 
The sun started going down and the sound shifted to soca and some Dancehall. The crowd grew slightly.  I was doing my thing, giving a likkle small wine here and there. The Mix Mixer on set at the time wanted the crowd to move up to the very empty VIP section; we obliged. Some went racing to secure a high-top table. Since we moved closer, I could clearly see the styles and fashion, and watch how people engaged with the music. There were a few women brukkin’ out but overall, this was not the batty rider, head top, grab a partner and cock-up crew. A few people were a part of go down low crew, but most people (men and women) rocked from side to side, skanked, followed the call and response from the songs, did the dance associated with the song, and offered a few gun salutes. 
 
Most people were dressed for an outdoor event. Women wore shorts, tennis skirts, and some kind of fitted shirt or body suit with sneakers or sandals. There were a few women giving “rich aunty vibes” with flowing oversized dresses with sandals or wedges or a pants suit-ish get up. The men wore jeans and a t-shirt or shorts and a t-shirt with sneakers. There was a woman in all white; I just couldn’t understand what I was looking at, I mean, she wore thigh high socks with sandals—I’m not sure if I’ve ever seen that before, but ok girl. 
 
Finally, Baby Cham enters the stage at 9:34pm. There was no real transition or seamless exchange from the Mix Mixer crew’s music into Cham’s session.  I did notice that his drummer was having some kind of technical issue which seemed to cause a minor delay. I also saw them bring some kind of cable over to the area where the drummer was set up. I question whether there was a sound check because, the sound was poor, too loud, and his mic low; there was also feedback from the monitors. Most of what he was singing just couldn’t be heard and the sound was piercing to the eardrum. I also asked the two people I was with if they could hear and what they thought. They agreed with me. 
 
Besides the sound issues, it’s undeniable that Baby Cham has a lot of bangers! I mean you can really get your dance on and the raspiness of his voice engenders a sense of sensuality and playfulness that begs for a lusty, raw, grind. Baby Cham is a mover, he dances and engages the crowd. Working stage right and left, he wines his hips, and grabs his crotch—I guess that’s his thing. He gives a very aerobic performance. 
 
The last song he sang was a new track “Hustling in My Blood”, a collaboration, with the Marley brothers, Damian, and Stephen. It was challenging to listen to because, you couldn’t hear the lyrics. I believe that after realizing this, that’s why he decided to sing the track without the music. The beat was hittin’, I’ll download it on my streaming platform for the full experience.
 
Images 1-6 (AC)
Image 7: y2kfestival.us and mlvcx_hvney (Instagram)
 

​No Expectations (2025)
A’Keitha Carey
 
What is unending devotion? 
 
What does it mean to never experience the joy of having someone in your life who cares about your needs and wants?
 
What does it mean to feel safe—spiritually, physically, emotionally, and financially by a parent or lover?
 
No lo recuerdo 
 
How does it feel to be protected, nurtured, seen, heard, valued, loved, appreciated, supported, and respected? 
 
No lo recuerdo
 
The painful loneliness of being abandoned—forgotten before you’re even remembered.
 
What is on the other side of this storm? 
 
Is it a rainbow, an umbrella, or something else?
 
Solitude: An anesthetic that removes all pain, sorrow, disappointment, and sadness. 
 
No expectations; you of me and me of you.
 

Today is the 52nd Independence of the Bahamas.   
 
There is particularly nothing to celebrate from my perspective as I draw comparisons and intersections to the US, my place of residence (and yes, I am a Bahamian by birth—grew up there and all the tings.)
 
As stated, I live in America and just got through the July 4th farce where we are expected to overlook the freedoms of millions of people being lost while celebrating the freedom of the land of the free (for a select few). 
 
There is a profound problem nationwide and globally as it pertains to systems that are in place that have historically FAILED (many) of its constituents. 
 
Again I ask, Bahamians, what are you independent from? The colonial imprint is steeped within the fabric of society and the minds of (many of) its residents. Let’s begin with government, the lack of women in leadership, THEN those who actually believe that patriarchy is NOT problematic. 
 
Next, there are no laws instituted to protect women and children.  Perpetrators of (violent) crimes toward women and children, some of whom are members of parliament go unpunished and THEN those who sit in pulpits who are accused/guilty of a list of offenses AND given little to no reprimand or rebuke. 
 
Corruption takes center stage in the country—on multiple levels…from the top down. 
 
Also, the arts have not been valued, appreciated, documented, and performed at a level comparable with other nations in the region (for reasons I don’t have time to address).
 
There is little to no action to address sustainability, recycling, solar power use, AND racism…etc. 
 
As TD Jakes mentioned in a sermon that I listened to today, you can not stand on tradition when it impacts and prohibits change and evolution. 
 
So, enjoy your day off. Play ya numbers. Watch Junkanoo. Eat and drink (I won’t even get into the obesity rates, and alcohol abuse). Listen to your favorite artists and have fun at the cookouts. 🇧🇸

​Well, here I am, one week post my Cowboy Carter experience. 
 
This was my first live Beyoncé concert—I feel like I might have been in the minority (new to the BEEHIVE) at this event—the level of comfort and familiarity that was seeping out of everyone’s pores. Don’t get me wrong, I absolutely love Ms. Carter and I truly admire and respect her artistry (even more after this show), I just never had to opportunity to attend a live performance of hers until this year, and I am eternally grateful. 
 
Attending this performance, as well as my presentation at the Dance Studies Association Conference in D.C. helped to deepen my discussion of my dissertation topic: Erotic Performance and Black Female Subjectivity. 
 
How it began…
In the middle of teaching my CaribFunk Fitness class, my phone rang. Usually, I am perturbed when this happens, but when I saw the name on the caller ID, I knew it must be of importance. My former student and mentee from Texas Women’s University called to invite me to the Beyoncé concert in Houston, TX. This clearly was the best thing to come out of my dreadful time at this institution (but I digress). I paused in exhilaration and shock. The concert took place the week of my birthday and while I was travelling to attend a conference. I told her I would get back to her to confirm when I worked out the logistics. 
 
Preparation…
Attending this concert was like preppin’ for a wedding or destination event that required a specific look or theme AND the body to match. That meant clothes, hair, makeup, undergarments, boots, bedazzled shorts, accessories, and of course—rhinestones galore. I added spinning to my weekly workout routine because, bay bay, I needed to get my legs right for these batty rider shorts.
 
While I was a little nervous wearing my daisy duke shorts, others, clearly were not.  There was one woman, who had to have given herself a cramp in her hand and/or fingers by pulling down her shorts  excessively as she was walking. Ma’am they didn’t cover your batty when you put them on and left your house (but I digress).
 
As we entered the gates to heaven, I took it all in, the couples, friends, mother daughter duos, family, and everything in between. Most people understood the assignment, and others not-so-much.
 
Everyone received wrist bands which I thought was just a souvenir, not knowing it was an intricate part of the visuals in the show. My mentee asked one of the gate attendants what time The Queen was appearing, she stated 8pm and that there was no opening act. Once we got inside the NRG Stadium, it was determined that a drink was needed. It was thick inside the concession area. We got in the Margarita line. Then it was HYSTERIA!
 
Pandemonium…
At 7:50pm there was a call, an awakening. The audience inside the stadium screamed and the people on the outside went running trying to get inside the dome.
 
I literally was caught between my role as participant-observer. I couldn’t believe what I was experiencing. I mean, I have been in a crowd and had to run before, but it was usually due to a fight (LOL) or something. But this was other worldly. This should be an example of “drop what you’re doing and come now”!
 
The Show…
There is so much to analyze in terms of symbolism and representation. Beyoncé claimed her ancestry and right to be a part of country music (conflicts, hate, racism and all) in this land of the so called “free and brave.” The red, white, and blue that dominated the show signified country (land) and (dis)connection (land). When we think about our current political climate and the erasure of Black and Brown history and people, she showed up and out, with her “everything is bigger in Texas” theme and production. This signified a deep and authentic demonstration that Black people are intertwined in the fabric of the nation. 
 
“Oh Say Can You See…”
I saw “Erotic Performance,” primarily this new element, “creativity” that I am exploring that Dr. Raquel Monroe so eloquently shared during my workshop, opening my very fluid definition of the term.
 
I saw a creative genius who balances motherhood and aging beautifully as a performer, opening the doors for her children to possibly participate in their mother’s destiny and dynasty. 
 
My GOD, the visuals, images, video, fashion, fashion, fashion, choreography, the use of space, body, energy, and focus. The silence—even the breathtakingly scary element of the show where the car she was in, that was being lifted by cables started leaning, in a too low rider-esqe hydraulic gravity shifting act that left us all praying during her performance of “16 Carriages.”
 
I saw Oshun—the symbolism was undeniable—the mirror, yellow, gold—sensational! Ballroom culture was represented as well. “Honey Balenciaga” ate, twirled, spun, kicked, flowed, lunged, dove, layed out, and scrubbed that runway with her knees bay bay. 
 
It was a multimedia and multidiscipline extravaganza. The kids dauuuunced hunny; there was Irish clogging, contemporary, house, hip hop, funk, buckin’, and pointe. This was a celebration of all things Black culture. 
 
My favorite elements were when she rode the bull and sang the song “Tyrant.” The lyrics, playfulness, rhythm, and sensuality are all elements of erotic performance that I am exploring. I also loved the performance of “Daughter,” it was visually and aurally pleasing. She wore a dress that illuminated and changed into various lighting patterns—simply amazing. 
 
Can we talk about the brilliance of marketing her hair line, Cecred? The dancers performed underneath hair dryers while branding elements of the product were visible on the stage. As we were leaving the show, I saw a Cecred booth outside the stadium. I’m assuming they were selling or giving away products preshow. 
 
I must note that those boots were NOT made for walking. I saw many people limping, dragging, and doing a shuffle trying to get to their cars or rides. Shoes were off and corns and bunions were bleeding! 
 
The aftermath…
I was deeply inspired by my experience at the show, so much that I added several of her tracks to my CaribFunk Fitness workout playlist: “Grown Woman”, “Jolene,” “Daughter,” “My House,”; I even created choreography to “Tyrant.” One of my CaribFunkers stated, “I’m loving this Beyoncè vibe.” 
 
In conclusion…
I saw a video on comedian Tony Baker’s Instagram page where he addressed ludicrous comments of people stating that “Beyoncé needs to retire…she looks tired.” Now, I questioned how to respond to this. Should I go dutty gyal, junglass, skettel and go awffff on the ignorant, disconnected, jealous, and bad minded fools who thought that making this comment was a flex. 
 
First and foremost, people who are ACTUALLY in the field, don’t make these statements, particularly in this manner. I am also in the 40+ crew and this is deeply offensive. You have men in their 50’s, 60’s, and 70’s still on the stage (barely) winding their hips and gyrating (horribly) with 5% of her energy, aesthetic, and production quality but it is not addressed or critiqued in the same manner. You are operating deeply in misogynoir and it is deplorable, TAKE SEVERAL SEATS! This Black woman’s accolades and accomplishments extend further than your tarantula eyelashes and $9.99 bundles.
 
Beyoncé is nowhere near ready to retire, in fact, this was a master class in EROTIC PERFORMANCE, demonstrating her power, sensuality, sexuality, playfulness, spirituality, autonomy, desire, the political, and freedom. GWAN GYAL!
 
Images
All Images of Beyoncé are reposted from her page on Instagram.
 
 
 

​It is very difficult to continue showing up, staying positive, and thinking about God’s protection in the midst of hell on earth. What we are witnessing in real time—the dismantling of every law, policy, and initiative that was designed to support people in this country who desired, deserved, and demanded equality is repulsive.
 
The complete eradication of this is appalling, disgusting, and simply inhumane. 
 
To see (some) politicians pleading and crying because they understand (even if you don’t) what is about to happen in this nation by (many) yt people who believe they are supreme (I no longer use the term white supremist) is an abomination. To be clear, there is no God in this, and if you voted for this administration, there is no God in you.
 
Many of you are complicit—this includes yt, Brown, Black, and or otherwise who voted for this, or specifically, your non vote. You have entertained the devil, sat with, desired to be with, and have manifested the anti-Christ like entity that we are experiencing in real time. 
 
I think about our Black ancestors who described this select group as “white devils.” Oh, how we see the hate filled, acid rooted hearts, callous souls, and demonic ideas—the very same behaviors of their slave owning and genocidal ancestors. The DNA don’t lie baby. 
 
When I was pregnant with my son, I NEEDED government support for prenatal care, I used WIC, I have benefited from SNAP. My son is on Medicaid. I have health insurance because of the Affordable Care Act (Obama Care). I have a caca load of student loan debt. I understand and feel immensely the pain of this bill. We are beyond cruelty at this juncture. This administration wants US all out of this country. 
 
Their theory is, If you are not yt, you don’t belong here. Let’s see how that works out for you. Should we take all our inventions, contributions, resources, labor, and the benefits that came from our wombs too?
 
AND now, we have this “Alligator Alcatraz” initiative in Florida. Reminds me of “alligator bait,” when Black children were used as bait to lure alligators for hunting practices.
 
There is no place in hell for this crew. Hell is too good for the vile, immoral, revolting, contemptable, and disgraceful people responsible for this cruelty. 
 
Power and greed have been the demise of many people and great nations.  

Image: https://churchtimesnigeria.net/prayer-need-saints-intercession/amp/
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What a treat! I knew that I couldn’t leave D.C. without visiting this national treasure. I made the decision to forgo conference activities today and visit the museum because, based off this governments disdain for Black EVERYTHING, who knows what the future holds for this prolific monumental time capsule containing our rich and unreputable history—past, present, and forever.
 
I reserved myself guided tour for 2pm. Arriving by Uber, I walked to the front door and made my way in the exhibit. The security guard asked me if I was a cancer and that he peeped my crab tattoo. I said yes, stating that my birthday was yesterday. He told me that his birthday was in a few days. I swear, I have never meet so many cancers in one year. 
 
Upon entry, I headed to the welcome desk where I received a map and a quick overview of the exhibit. I took the elevator down and saw that there were quite a few people participating in this one-of-a-kind experience. As I entered the first exhibit “Slavery and Freedom 1400 -1877”, I breathed deeply and let my senses carry me through. This section covered “15th -19th Centuries: The Making of the Atlantic World.” The images and artifacts are exceptional, and the narration, lighting, and the text allows for a comprehensive educational experience. 
 
We saw images, slave logs, shackles, cotton, and sugar plantation scenes. “The Middle Passage”, is probably one of the most discussed and/or taught element of Black/African history. And it was dark—even this section of the exhibit was visually very dark. 
 
I listened to a mother explain “The Slave Trade” to her Black children and answer their questions—they were all girls and had a British accent.
 
As I made my way around to the “Defending Freedom, Defining Freedom: The Era of Segregation 1876 -1968, I observed a White man wearing a Tupac T-shirt. 
 
I was captivated by the sculpture of Haitian Revolutionary Toussaint Louverture. 
 
The instillation titled “A Nation Divided” gave me pause because here we are experiencing the exact atrocities that our ancestors literally lost their lives over—the systemic oppression, dissolution of human and civil rights, and kidnappings. 
 
Images of abolitionists and civil rights leaders Harriet Tubman, Sojourner Truth, Fredrick Douglas, William Lloyd Garrison, Susan B. Anthony, were both bold and poignant.
 
Moving along to the “Changing America: 1968 and Beyond” with a focus on “Women and the Movement” was personally a fulfilling moment for me. Black feminism, Caribbean feminism, bruk out feminism, ghetto feminism, and hip-hop feminism form the crux of my dissertation research so, naturally I was/would be drawn to this. 
While in this section, I was interviewed by a group of students (college) about my experience at the museum, what my favorite section was, what was the most interesting section, and what I thought about Trump’s executive order which attempts to close this exhibit. Oh, I had time today baby!
 
I shared my connection to the exhibit as a Caribbean American and dancer and scholar whose work focuses on African Diaspora dance, music, and aesthetics. I mentioned why it was important for me to see the museum now and that what this president is doing is blasphemous and an abomination. Black history is American history and African history is everyone’s history. Our culture and contributions are planted not only in the US but globally and to erase that is shameful. I mentioned that there were quite a few non melanated people attending the exhibited—and I wanted to know how they were affected by what they saw and heard and what were they going to do and say about this crime of erasure. Now that they have seen and experienced Black brilliance for themselves, what were they going to do—NOW?
 
I wanted to check out the gift shop before I continued the second half of the tour—I also didn’t want to run out of time. The store had really wonderful culturally specific items such as books, jewelry, body items, and collectables. I purchased 2 books, “Bad Feminist Essays” by Roxane Gay and “Carefree Black Girls: A Celebration of Black Women in Popular Culture” by Zebla Blay, 2 lapel pins which read “Artist” and “Loving the Skin I’m In, and a National Museum of African American History and Culture T-shirt.
 
While shopping, I observed several people wearing T-shirts stating, “Republican Cuts Kill” and “Medicaid Saves Lives…Hand Off Medicaid.”
 
The upper level included galleries of artwork that are politically focused addressing resilience as well as music through the ages that included jazz, funk, rock, R&B, soul, blues, hip hop, and more. Beautiful images and artifacts from our forever musical icons like Prince, Whitney Houston, and Luther Vandross; even the Mother Ship from Parliament Funkadelics was there.  Great actors who graced the stage, tv, and film had representation.  Comedians like Richard Pryor and dance (not a lot!!) were on display.
 
A Katherine Dunham and Pearl Primus video played and instinctively, I wanted to undulate and roll my hips. Beautiful images of the Alvin Ailey Company sparkled. I wished that I was able to do a likkle turn or flip, but it’s hard being the talent and camera crew.  
 
The exhibit is out of this world. If you are a person of African descent, a visual artist, curator, educator, politician, activist, archivist, historian, veteran, writer, scholar, musician, thespian, and dancer—you need to see this museum. 
 
If you are a human being, you need to see this museum. It will transform you. 
 

We are in the middle of Caribbean Heritage Month and this year I decided to attend the Caribbean American Heritage Festival on Saturday, June 14th at City Park on Sunset Strip in Sunrise to celebrate. This event was sponsored by Sunrise Federal Government, took place from 5-9 pm on a beautiful warm and sunny day. I have never visited this park, even though it is located 10 minutes from my house.
 
My son and I left home at 6:30pm ensuring that the sun was sleepy and, on its way to bed. The drive was easy, now locating parking is a different story. As I looped around, praying for a close spot, I drove through the parking lot adjacent to the park and saw a few Junkanooers walking through. I immediately put my window down and asked if they performed yet. When he said no, I felt at ease but still quickly tried to find a parking spot so I could get myself situated. My son asked me if the only reason I wanted to come to the event was to see the Junkanoo band.  I chuckled thinking about the whistles I packed in my bag. I also had my selfie stick because the idea was to capture the activities taking place so that I could write a review for my blog but chile, that was an epic fail. 
 
Two of my CaribFunkers joined me which was great! When we entered the park, the soca music was jammin’ and radio personality and host Papa Keith was on the mic chattin’ to the crowd. The Moko Jumbie’s were walkin’, dancin’ and winin’up, engaging with di people, it was pure hilarity. As one of them made their way over to where we were standing, I decided that this would be my warmup.
 
When I heard the drum, and then Papa Keith introduces the Junkanoo Band, I transitioned, transposed, and transformed. I grabbed my whistle, gave my son his, and I was off. I was so wrapped up in my dancing and rushin’, I didn’t have time to set up my camera and selfie stick. I waved and swung that stick like I was a flag woman, drum major, or anyone leading a group of people down di road. As I blew my whistle—and yes, I was the only person rushin’ and blowing my whistle, I walked up to the band (which was very small—maybe 5 people) and started carryin’ on. I even forgot my son! 
 
The female dancer started the circle/conga line, we joined her, danced and grooved. I had a duet with the lead dancer, kicked my legs as I walked through the Moko Jumbie’s stilts, then I remembered that I left my son. As I quickly looked around the circle for that distinctive curly afro and didn’t see him, I panicked. I immediately left the line and walked to the spot we were standing before the band started. Before I got there, I saw his little calm and reserved self, walking in the line with no expression and not blowing his whistle. In that moment I asked myself, how is this my child? He is so much like me and then in these instances, he is not. When I asked him what he was thinking, he said I was just like “there goes mom again” (screaminggggggggg!).
 
When the band finished, I was a sweaty mess—literally dripping. I dried off, trying to maintain what was left of my make-up. We decided to get a drink and check out the vendors which was very sparse. I ordered a milk shake for my son at an ice cream and sushi truck and a water for myself. Then, we walked over to the section that sold alcohol and we ordered a few cocktails, I had my usual Prosecco. Inner Circle was jammin’ and the crowd was rockin’ with them.  
 
My son wanted a bubble gun so as I walked over to that vendor, I briefly glanced at a separate vendor section. I saw jewelry, artwork, clothes, oils, and carnival costumes. They had a gamming station ran by the Sunrise Police as well, but they were wrapping up when we got there. The officer informed me that they will be there again for their back-to-school event in August. 
 
Before we left, we headed over to a food truck that sold Bahamian food. This is where I have questions. I ordered “crack conch which is called “fried conch” in South Florida and conch salad, which is also called conch salad, but it is made differently. It is visibly different, in terms of the color. It is red, some put black pepper and some type of vinegar which changes the taste considerably which is also BLASPHEMY by true Bahamian standards. 
 
This version had no tomatoes and was overrun with cucumbers. I don’t recall there being any green peppers either. After I tasted the first bite, the owner of the food truck asked me what I thought. I told her it was good but definitely “different.” I said I am Bahamian, and this is not the way we make it. She said that she was also Bahamian, but this is the version that sells the most in the US. That was very interesting so…Miami/S. Florida Conch Salad vs Bahamian Conch Salad. What are your thoughts?
 
Final Words
I thoroughly enjoyed the event. I would love to see more cultural dance showcased at the event—like Caribbean dancers and Caribbean dances performed like Haitian Konpa, Folklore, Trinidadian Bélé, Puerto Rican Bomba, Jamaican Dancehall, etc. It would be great to showcase more food trucks as well. 
 
The advertisement stated that there would be crafting, face painting, steel pan workshop, Moko Jumbie and Junkanoo Workshop, and piped music. Some of these things were scheduled earlier so, I am not sure if I missed it or it didn’t occur but overall, I thought it was a great event and I look forward to seeing it develop even further next year. 
 
 
 




 
 
 
 

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