Amberly Alene Ellis is an independent filmmaker, writer and documentarian based between the Caribbean and the U.S.
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Classic: Black and White
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This winter I have been living in my Doc Martins. Today I was feeling like something classic, an old school look with a new school twist. Photo cred: Richard T. Fields. See the look below:
These photographs I took are
dedicated to memory and the narratives of immigrants that are often spoken in
quieter tones. Taken in the little Haiti community of Miami, these faces represent
the Haitian immigrants that have been turned away at many a shoreline, and have
seen their neighborhood transformed into a trendy Miami art district that does
not reflect their culture. The image of Marcus Garvey around the neck of the
young man, reminds me my own family migration story and the many Caribbean immigrants whose
struggles don’t always make the headlines. Next month, I am continuing the series with the hopes of using photography to build lesser told stories around gentrification in Miami communities.
Hip hop lives in Havana. On late weekend nights, the sound
of stereo systems may surprise you. Salsa, bolero and rumba can blend with the
steady bass of the most up to date Hip hop tracks. It can also ease into old
school Hip hop beat that could take any Hip hop lover back to the golden days. In
Cuba, Hip hop music has played a particularly integral role in the shaping of a
youth subculture. Hip hop music sprouted in the days of the ‘special period’ of
Cuba. After the fall of the Soviet Union, in 1989, Cuba would never be the
same.
Economic hardship drove youth to search for new ways of
self-expression. For some young Cubans, the struggles expressed by African
American Hip hop artists connected to the marginalization that blacks in Cuba
would experience in the 90’s as the economic disparity and the lack of equal
opportunities made it more obvious that the racial problem in Cuba were no
longer something that could be concealed. Hip-hop would provide a voice to the
voiceless. In Cuba, Hi…
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