Posted by: ivetteromero | October 1, 2014

Dominicana Moda 2014


Various Caribbean fashion agencies and designers will flock to Dominicana Moda 2014, to be held from October 20-25, at the Hotel Embajador in Santo Domingo, Dominican Republic. Major fashion houses have participated in the past, and this year it is expected to be even bigger than before.

The Caribbean Export Development Agency (Caribbean Export), under the 10th European Development Fund (EDF) supports six regional designers to be part of Dominicana Moda 2014 (DM2014) [. . .]. The Agency is pleased to support Kimya Glasgow of St. Vincent & the Grenadines, who specialises in eco-luxury Resort wear; Heather Jones International of Trinidad & Tobago, which produces hand-painted silk chiffon garments; Christian Boucaud Designs, also of Trinidad & Tobago, which creates custom resort wear garments; Jean Yves Marchand of Haiti, who specialises in ready to wear clothing and Reve Jewellery and Accessories of Jamaica, who creates luxury, hand-made jewellery.

[. . .] In addition to participating in the runway shows and the MALL, Caribbean Export will be supporting designers to visit manufacturing units in Haiti this year. It is hoped that creating these business linkages between regional designers and manufacturing units will promote vertical integration of the CARIFORUM economies.

This collaborative effort with Dominicana Moda will provide a great opportunity for emerging and established fashion designers in the Caribbean to expose their vision at a regional and international stage, thus positioning the Caribbean as an international go-to location for Fashion design and ingenuity.

Since its inception in 2006, Dominicana Moda has developed into a very important platform for the Fashion Industry, as the official Fashion Week of the Dominican Republic.

Throughout its history it has become the fastest growing runway show in the Latin American region. Dominicana Moda is an annual event for around 6 days of continuous runway shows where the best brands and designers come together.

For full article, see

Also see

Posted by: ivetteromero | October 1, 2014

Canada: The Covert Philanthropist?

downloadVernon Davidson writes about how Canada is assisting Jamaica and other countries in the Caribbean more than ever. He writes:

Much like a covert philanthropist, Canada has been providing vital assistance to Jamaica for decades. In fact, the relationship between Ottawa and Kingston predates Jamaica’s Independence in 1962. “It goes right back to the old days of the British Empire Trading System, where salt fish would get traded for rum and molasses between Newfoundland and Jamaica,” Canadian High Commissioner to Jamaica Robert Ready said last week at a sitting of the Jamaica Observer Press Club.

The records show that Canada has consistently provided help to Jamaica in the form of aid, debt relief, preferential trade arrangements, and advocacy on our behalf in international fora where the island does not have a seat. But it’s not as if the Canadians, in their thrust to strengthen relations, singled out Jamaica, as they have been providing trade and developmental assistance to the Caribbean.

For instance, after then United States President Ronald Reagan announced the Caribbean Basin Initiative (CBI) in February 1982 with the aim of promoting economic development and political stability in the region, Canada established the Caribbean-Canada (CaribCan) Trade Agreement to promote trade and investment through duty-free, quota-free access of goods from Commonwealth Caribbean countries to the Canadian market.

The programme has been renewed periodically since its establishment in 1986, even when it required a waiver at the World Trade Organisation. But even as that waiver expired in December 2013, and Caricom governments are yet to finalise a new agreement with Canada, it is obvious that Ottawa is deeply committed to continue assisting the region.

High Commissioner Ready pointed to Canadian Prime Minister Stephen Harper’s announcement in 2007 of a CAD$600-million development programme for the Caribbean as proof of that commitment. That assistance, Ready said, runs for 12 years and promotes sustainable economic growth, security — both in the context of the rule of law and justice reform — and disaster preparation and mitigation.

[. . .] They include assistance in:

* establishing accountable public institutions by enhancing the management of state finances in an effort to increase the effectiveness of revenue systems;

* improving revenue generation and fiscal policies in order to fashion budgets for more effective and efficient programmes;

* strengthening the next generation of Caribbean leaders through the sharing of best practices in governance reforms;

* strengthening management systems, data collection, research, analysis, and public awareness activities at the Organisation of Eastern Caribbean States Secretariat;

* economic development of local governments and agencies, which Ottawa estimates will benefit as many as 500 micro, small and medium-sized businesses in six countries;

* capacity-building of Caribbean institutions through partnerships with Canadian colleges to develop technical and vocational education and training in order to provide a labour market equipped with the skills that are in demand; and

* strengthening distance education to help build the University of the West Indies’ Open Campus capacity, giving up to 42 learning sites across the Caribbean access to post-secondary education.

Also among the projects is the provision of short-term assistance after major natural disasters, a community disaster risk reduction initiative that provides training and information on best practices, and the Caribbean Disaster Risk Management Programme, which increases the capacity of regional organisations, governments and communities to respond to and manage natural disasters and reduce the impact on people.

Easily one of the biggest programmes being implemented by the Canadians in Jamaica is the Justice Undertakings for Social Transformation (JUST), a five-year bilateral initiative into which the Harper Administration is pumping CAD$20 million in cash and technical assistance.

For full article, see


The Center for Women, Gender and Sexuality Studies at Florida Atlantic University is proud to host SEWSA 2015: “Trafficking in Gender: Feminist Dialogues on Embodiment.” The 2015 Southeastern Women’s Studies Association conference will be held at the Wyndham Hotel in Boca Raton on March 26-29, 2015. Caucus submissions are due by October 15 and general admissions will be accepted through November 1, 2014.

Description: The conference topic is inspired by our Center’s current initiative to raise awareness about sex trafficking, particularly in South Florida. The National Human Trafficking Resource Center found that the state of Florida ranked 3rd in the number of phone calls amassed by their human trafficking hotline in 2011. Our keynote speaker, Carrie N. Baker, an Associate Professor in the Program for the Study of Women and Gender at Smith College, has published The Women’s Movement Against Sexual Harassment (Cambridge UP, 2004), and her current research is on sex trafficking.

We invite paper abstracts and complete panel, workshop, and roundtable proposals on all aspects of gender and embodiment. We especially encourage those that engage the conference theme to discuss feminism in relation to the themes of (im)mobility, trafficking, and movement. Gayle Rubin’s landmark essay, “The Traffic in Women: Notes on the ‘Political Economy’ of Sex,” provides a touchstone for SEWSA 2015 conference theme.

Suggested topics/approaches for proposals are: theories of sex and gender and “modes of reproduction”; sexual subcultures and sexual minorities; routes of transnational feminist politics; sex and profit (prostitution, domestic labor, etc.); body trafficking, displaced and misplaced bodies; various forms of illicit trafficking (organs, cultural objects, drugs); anti-trafficking movements and activism; kinship systems, gift exchange, the politics of marriage, and the relationship of social systems to political and economic arrangements; engendering health; narratives of activism; pedagogical meditations on teaching gender and embodiment; and circulations of cultural production (music, film, literature, visual arts).

Guidelines: We invite you to submit individual proposals of 250 words in a Word document for this general call for papers and ask that you also review the LGBTQ, People of Color, and Student caucus CFPs for their submission requirements. Caucus submissions are due by October 15th and general admissions will be accepted through November 1st. Submissions should detail requests for specific audiovisual equipment, if needed. We also ask that a proposal for a complete panel, roundtable, or workshop include a short description of the central topic, supplemented by brief abstracts of individual speakers’ contributions.

Please e-mail abstracts to:

All presenters, chairs, and respondents must be members of SEWSA. Membership information can be found on:

For more information on the conference, including lodging, etc., see

[Many thanks to Mary Ann Gosser Esquilín for bringing this item to our attention.]

Posted by: ivetteromero | October 1, 2014

Bildner Center Series Panel—Havana: Foundation and Legacies

001 Dramatic Stair

The Bildner Center will host the panel “The Havana: Foundation and Legacies” on Monday, October 6, 4:00pm at The Graduate Center-CUNY (Room 9206/07). The speakers are Carlos Riobó (City College and Graduate Center, CUNY); Odette Casamayor-Cisneros (University of Connecticut-Storrs) and Hermes Mallea [M(Group), New York].

This Bildner Center Series explores Havana and its legacy since its founding in 1514-1519. Carlos Riobó (City College), Odette Casamayor-Cisneros (University of Connecticut-Storrs), and Hermes Mallea M(Group) focus their discussions on original architecture and literature, ruins, French and Soviet influences in Cuban culture. One presentation will be in Spanish while the other two will be in English.

Car­los Riobó (Ph.D., Yale Uni­ver­sity) is Associate Professor of Spanish and Comparative Literature, Chairperson of his Department at The City Col­lege of New York, CUNY, and Cuba Project Fellow of the Bildner Center. Dr. Riobó’s publications include Sub-versions of the Archive: Manuel Puig’s and Severo Sarduy’s Alternative Identities (2011); Cuban Intersection of Literary and Urban Spaces (2011); Handbook of Contemporary Cuba: Economy, Politics, Civil Society, and Globalization with Mauricio Font (2013); and “Raiding the Anales of the Empire: Sarduy’s Subversions of the Latin American Boom” (2013), for which he won the 2014 Latin American Studies Association’s Sylvia Molloy Award.

Odette Casamayor-Cisneros (Ph.D., École des Hautes Études en Sciences Sociales, Paris, France) is Associate Professor of Latin American, Caribbean and Latino Literatures and Cultures at The University of Connecticut-Storrs. Her first book Utopia, distopía e ingravidez: reconfiguraciones cosmológicas en la narrativa post-soviética cubana has been published by Iberoamericana/Vervuert in May 2013. She is currently working on a new book, On being Blacks: Challenging the hegemonic knowledge through racial self-identification processes in post-Soviet Cuban cultural production. Casamayor has been awarded the 2015 Wilbur Marvin Visiting Scholarship at the Rockefeller Center for Latin American Studies at Harvard University.

Hermes Mallea is an architect and a partner in the New York City based firm M(Group) and a member of the American Institute of Architects (AIA). Mr. Mallea studied at the University of Miami’s School of Architecture and Columbia University’s graduate school of Historic Preservation. A longtime collector of vintage Cuban photographs, Mr. Mallea has travelled to Cuba frequently to do research and to lecture on historic preservation. In 2011, Mallea published Great Houses of Havana. His upcoming book, Escape, The Heyday of Caribbean Glamour, will be published by Rizzoli in October 2014.

TO REGISTER send an e-mail to


The 10th Conference on Cuban and Cuban-American Studies of the Cuban Research Institute at Florida International University (FIU) in Miami will take place on February 26-28, 2015. Please note that the deadline for submission is October 31, 2014.

The conference, organized around the theme “More than White, More than Mulatto, More than Black”: Racial Politics in Cuba and the Americas, will take place at the Modesto A. Maidique Campus in Miami, Florida.

Description: In 1893, the Cuban patriot, journalist, and poet José Martí published his famous article, “Mi raza” (“My Race”). In it he argued against fomenting racial divisions within the context of Cuba’s independence struggle from Spain. His axiom that “man is more than white, more than mulatto, more than black” has been extensively cited since then. Although Martí’s thought has been praised for promoting racial integration and equality, scholars and activists have criticized the practical implications of his model of racial democracy in Cuba and elsewhere.

The Tenth Conference on Cuban and Cuban-American Studies takes Martí’s dictum as a cue for further academic inquiry and public debate. Our main theme, Racial Politics in Cuba and the Americas, invites comparisons between Cuban experiences of race and those of other Latin American and Caribbean peoples (such as Puerto Ricans, Dominicans, Haitians, and Brazilians), as well as their diasporic communities. Although we emphasize the racial politics that emerged from the African-European encounter, we welcome analyses focusing on other racialized groups in Cuba and the Americas. We are especially interested in examining the economic, social, and cultural underpinnings of racial politics, as well as their histories, enduring significance, and potential futures.

Guidelines for Presenting Panels and Papers: Although we prefer panel proposals, we will attempt to group individual papers in sessions according to shared themes. Panels will ideally include four paper presenters, a chair (who may be one of the presenters), and a discussant. Panels may feature five paper presentations if they do not include a discussant. Participants may perform two roles at the conference (chair, discussant, roundtable participant, or paper presenter) but may not present more than one paper. Submissions may be in English or Spanish.

We encourage the submission of panels and papers concentrating on any aspects of the main conference theme, but will consider all submissions relevant to the history, economy, politics, culture, society, and creative expression of Cuba and its diaspora.

[For list of suggested topics, see or our previous post]

Proposals for panels or roundtables must include a general description of the theme and one-page abstracts of each participant’s paper. Each presentation will be limited to 20 minutes. The following information must be submitted for each participant: full name, role in the session, academic affiliation, title of presentation, preferred addresses, office, cell, and home phone numbers, fax, and email address. Persons wishing to submit individual papers must present a one-page abstract and all pertinent personal data.

The deadline for submission of all paper and panel proposals is October 31, 2014. Notifications of acceptance (or refusal) will be sent out by December 1, 2014. For further information about the conference and other CRI activities, please visit our website at

All submissions and requests for information should be sent to

Posted by: lisaparavisini | September 30, 2014

Richard Price Presented with Fernando Ortiz Intl. Prize


The Fernando Ortiz International Prize given by the homonymous Cuban foundation acknowledged on Monday in Havana the life and work of U.S. anthropologist Richard Price, known for his studies on secondary cultures in the Caribbean, Prensa Latina reports.

The ceremony took place at the Martinez Villena Hall of the Association of Cuban Writers and Artists (UNEAC). The award is given, exceptionally, to national and international persons and institutions studying and carrying out research work, from Social Sciences, on processes in Latin America.
Jesus Guanche, member of the executive board of the Fernando Ortiz Foundation (FFO), said that the award was given to Price for his important contribution on the first conceptualization of runaway slaves and the formation of colonial communities, taking comparative studies as a starting point.
The results of this research work on ethnographic history have won numerous prizes of various entities, like the American Folklore Society and the Association of Caribbean Studies, among others, asserted Guanche while explaining the nomination.
I receive this prize with great honor, even more because it was the Cuban ethnologist himself the one who influenced my comparative studies, stated Price.


“Mala Mala” is a colorful and moving documentary that leaves audiences with lifted spirits and increased acceptance. So why is it having such a hard time finding a home? . . . so asks Casey Cipriani in this  piece for Follow the link below for the original report.

The stunning documentary “Mala Mala” tells the poignant story of the transgender community in Puerto Rico, which is as diverse as it is vibrant. The film features a colorful cast of LGBT advocates, trans business owners, sex workers and drag performers, all of whom face their own challenges. Unapologetic and unconventional, the film explores the contrasts in internal and external identity, weaving its way through the unique stories of an enchanting cast of characters.

When it premiered at this year’s Tribeca Film Festival, “Mala Mala” earned rave reviews all across the board, landing it on one of our lists of some of the best documentaries of 2014. The film earned the runner-up spot for the Audience Choice Award, and other festival offers soon poured in: San Diego, Denver, Salt Lake City, Ecuador. But despite its themes of acceptance within a diverse community, “Mala Mala” has been notably ignored by many LGBT film festivals around the globe. It screened at the Austin Gay & Lesbian Festival, where it won the Grand Jury Prize for Best Documentary, and at the Provincetown International Film Festival, which has a high LGBT attendance, but was shut out of larger scale fests like Outfest, NewFest or Out on Film.

We caught up with co-directors Dan Sickles and Antonio Santini at the Trinidad and Tobago Film Festival, a Caribbean-centric fest where the film marked its Caribbean Premiere as an entry from Puerto Rico, to find out why “Mala Mala” was having such a hard time finding not only a place within its own community, but in the U.S. as well.

“We assumed that the LGBT film circuit would be open arms to a project like this,” said co-director Dan Sickles. “Because in a lot of their mission statements they claim to crave diversity in their programming so you think ‘Here’s a film with nine transgender voices and shot in Puerto Rico in 65 percent Spanish, and 35 percent English.’ But that’s not necessarily what a lot of major queer film festivals want, and for us, that’s been a difficult realization.”

Sickles and Santini have come to realize that perhaps they’ve created a difficult film which is now having a slightly difficult time on the festival circuit.

“I cannot ignore the racial component,” Sickles added. “A lot of these film festivals are appealing to a gay, white demographic. Typically they don’t have very many lesbian films, they don’t have many trans films. So when we have the ‘LBGT’ acronym that everyone employs, a lot of the films that are being employed are strictly for the G. Then you have the L and then the B might fit in there some time, and then you have maybe a slot for a trans film.”

The trans-centric film might be a narrative or a documentary, Sickles added, but that most of them focus on Caucasian-American trans-feminine voices. Securing U.S. distribution has also been a challenge. The team signed on with a sales agent before even hearing back from Tribeca, but so far no distribution company has snatched up the film.

“The whole Puerto Rican aspect of it is the huge challenge,” Santini said. “Because to us that was maybe one of the most interesting parts of filming, but when we talk to people who go see it at a festival, the first thing that they see is Puerto Rico and they think ‘Oh, do I even know where Puerto Rico is? Why do I care about Puerto Rico?’ There’s a lack of education in the U.S. about this territory that belongs to the U.S., so that’s a challenge.”

And such is the beauty of what “Mala Mala” successfully does, and why it needs to capture the eyes and ears of Americans through U.S. distribution. Not only is the film an eye-opener to the challenges facing members of the transgender community, but it also reflects a Latino culture that is becoming more and more distinctly American.

But the team isn’t discouraged yet.

“The whole movie was made with the intention of bridging that gap,” Santini said. “This is just the challenge of presenting that. Naturally there is not already a space for it, so we are creating that.”

Memo to U.S. distributors: buy “Mala Mala” now.

For the original report go to

portada antología Un espejo roto.

Un espejo roto: Antología del nuevo cuento de Centroamérica y República Dominicana [A Broken Mirror. . . (2014)], published by Grupo de Editoriales Independientes de Centroamérica (GEICA) and the Goethe Institut-Mexico, is an anthology of current (21st century) short stories from Central America and the Dominican Republic. This anthology, compiled by Sergio Ramírez, has also been published in German as Zwischen Süd und Nord: Neue Erzähler aus Mittelamerika [Between South and North. New storytellers from Central America].

Bild_antholige_245The collection includes the following countries/authors: Guatemala: Eduardo Halfon, Maurice Echeverría, Denise Phé-Funchal, Javier Payeras; El Salvador: Mauricio Orellana Suárez, Vanessa Núñez Handal, Alberto Pocasangre; Honduras: Jessica Sánchez, Kalton Harold Bruhl, Gustavo Campos, José Manuel Torres Funes; Nicaragua: María del Carmen Pérez Cuadra, Berman Bans, Ulises Juárez Polanco, Roberto Carlos Pérez; Costa Rica: Jessica Clark Cohen, Guillermo Barquero, Warren Ulloa, Carla Pravisani; Panama: Carlos Oriel Wynter Melo, Melanie Taylor, Lili Mendoza, Lucy Cristina Chau; and Dominican Republic: Juan Dicent, Rey Andújar, Frank Báez, Rita Indiana Hernández.

Description: Un espejo roto is an anthology of the twenty-first century that allows us to glimpse the Central American short story far from its old borders. In each of the chosen authors—a necessarily rigorous selection—we have sought, first of all, the excellence of creative individuality based on the resources of language and imagination; that is, as in any good anthology, the quality of literary expression, so that this grouping of authentic voices may open a new vista of what is now Central America, crisscrossed by various social phenomena, in its complex diversity.

The narrators of this anthology tell us stories of imaginary beings, but who inhabit the real world and belong to an atmosphere where private lives are constantly intersected by public life. This selection of Central American storytellers—in which we include writers of Dominican Republic, because of its proximity not only in language but also in cultural background—offer the reader an overview of the creative diversity of a region consisting of countries that, in spite of everything, are determined to erase their borders, and whose writers are determined to find a common, lost identity. (Sergio Ramirez)

For more information, see and

For purchasing information, see

See prologue (in Spanish) at


More on the 2014 ttff. One of their Filmmaker in Focus columns centers on director Micah Fink (Jamaica/USA), whose film, The Abominable Crime, seeks to get to the roots of homophobia in Jamaican society, revealing the psychological and social impacts of discrimination on the lives of gays and lesbians. Told as they unfold over several years, these personal, intimate accounts of discrimination and violence perpetrated against gays in Jamaica take the audience on an emotional journey. The film just won the Amnesty International Prize (given to a Caribbean film that best highlights a human rights issue). [Also see our previous post Film: “The Abominable Crime,” Documentary about Being Gay in Jamaica Debuts in US.]

Here are excerpts of an interview of the director with ttff blogger Aurora Herrera:

abominable_crime_director-602x401[. . .] With this film, did you have Jamaican friends or links to what was going on? How did you come to want to make a film about it?  That film has its roots in another project that I was commissioned to do by the Pulitzer Centre on Crisis Reporting to go down to Jamaica to look at: HIV/Aids. As you probably know, Jamaica has one of the highest HIV infection rates in the world particularly when it comes to their gay community. The year I went down, the government had just reported that one out of every three gay men in Jamaica was testing positive for HIV and the question was why would that be happening in Jamaica? What are the social, political and cultural factors that would create one of the highest infection rates in the Western hemisphere? It’s also one of the highest rates in the world. So that began my work in Jamaica. What we uncovered is really how the culture of homophobia drives the Aids epidemic and also has a huge collateral impact on all sorts of people like Simone, and Kayla, her daughter, who become the main characters of The Abominable Crime.

[. . .] What was it like for you getting to know their stories and becoming involved or were you able to be completely objective all the time? You know it’s funny because I have actually come to love Jamaica and its people. There are so many parts of the culture which are just so warm and welcoming but it’s sort of like you have this new best friend and they have this cancer on their forehead and I think at this point it’s hard for me to look away from that now because it so deeply impacts the lives of so many people that I’ve met. I think I have a complex relationship with Jamaica these days. On one hand I love the people, the place and the culture and on the other hand I’m deeply saddened that this one thing should so harm so many people. And not just people like Simone and her daughter and Maurice who have to leave, but people who live there and then more than that, HIV/Aids impacts everybody. It’s not just the gay community that’s impacted. [. . .]

In the film you feature the lyrics of the Buju Banton song “Boom Bye Bye”, which is about killing gay people. Homophobic lyrics are pervasive in Jamaican music. What are your thoughts on this?  I danced to that music. I had no idea what they were saying. That music is everywhere. The first year I was in Jamaica, I was just amazed how on the busses, in the cabs, that kind of music, particularly homophobic music, was being played everywhere all the time! It’s just the background to daily life.

This isn’t mentioned in the film but shortly after his first visit back to Jamaica, the Royal Canadian police found a pressure cooker filled with nails, a bomb, on Maurice’s front step and they had to remove it. They didn’t want to talk about it at the time because they were doing an investigation, but I think this shows that the tension is real, even in a place like Toronto. It’s sad when you have the leaders of these movements exposed to that kind of violence and the high possibility of losing your life.

For full interview, see

Posted by: ivetteromero | September 30, 2014

Film: News from ttff 2014


Our friendly correspondent in Tobago, Taí Fernández, gives us a closer look at award-winning short films: Bullock by Carlos Machado Quintela (2014, Cuba), which received the Award for Best Narrative Short; Luna vieja [Old Moon] by Raisa Bonnet (Puerto Rico), which received the RBC: Focus Filmmakers’ Immersion Pitch Prize; Davina Lee’s The Coming of Org (St. Lucia), which received the Pitch Prize Honorable Mention; winner of Best Short Film-Documentary, ABCs by Diana Montero (Cuba); and the People’s Choice Award for Best Short Film, Flying the Coup by Ryan Lee (Trinidad & Tobago). [See full list of winners in our previous post Winners announced for 2014 trinidad+tobago film festival.] Here are the synopses for these short films.

Bullock (Cuba): A man walks down a dusty road under a merciless sun. He holds in his hands a seemingly endless, tattered rope, by which means he attempts to keep hold of something that, in fact, is pulling him. Bullock is a story of defiance, rebellion and death—or a primitive love story [see still above].


Luna vieja / Old Moon (Puerto Rico):  Elsa’s husband has just died and her relatives come to take their leave of him. Elsa observes with concern the relationship between her son-in-law and his daughter. Nonetheless, she continues to go about preparing food, hanging out the washing, feeding the chickens and tending the garden. Only her face gives away her unease [see still above].


The Coming of Org (St. Lucia): In this supernatural tale, three people come face to face with Org, a figure from St Lucian folklore that manifests itself in their day-to-day existence. The film is based upon the short story of the same name, written by John Robert Lee[see still above].

ABCs (Cuba): Leoneidi is a 12-year-old girl with a baby living in Sierra Maestra, Cuba, where the incidence of child pregnancy is high. Forced to abandon school, and verbally abused by her baby’s father, she struggles with her childish urges to play, the demands of motherhood and the obligations of family life.

Flying the Coup (Trinidad and Tobago): Leoneidi is a 12-year-old girl with a baby living in Sierra Maestra, Cuba, where the incidence of child pregnancy is high. Forced to abandon school, and verbally abused by her baby’s father, she struggles with her childish urges to play, the demands of motherhood and the obligations of family life

For more information, see

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