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This thesis examines how Colombian women within the city of Atlanta utilize Facebook as a parallel public sphere, a cultural phenomenon through which the silenced use mediums of popular culture to discuss private and public dilemmas (Dewey 2009). Through ethnographic research in Atlanta, I analyze how these young women use Facebook as they negotiate their identity through the multiple contexts of their everyday lives. Drawing from feminist critiques, I explore whether Facebook provides an alternative to the traditional public sphere, while also investigating how power structures influence freedom of expression online. Through an international network of friends, these women tackle topics of discrimination, personal struggles, and individual accomplishments. By addressing pertinent issues, such as immigration reform policies, through a public forum, Colombian women become activists in order to disseminate information and educate others. This study explores the parallel public sphere, as well as its possible implications for diasporic communities, by examining the power of social connections and the performance of public personas through an arena not bounded by physical space.

This study examines how gender influences the performance practice of calypso, soca, steel band music, and other related musical genres in contemporary Trinidad. I address the history of these musical genres in this nation, and how they developed into their present form. My study of women in contemporary Trinidadian music examines how popular musicians bring together personal opinion, public persona, and musical structure, to create commentaries upon the contemporary moment (instrumental political agency) as well as emotional bonds with their intended audiences and show that an alternate way of organizing gender representations and inter-gender relations is possible (constitutive political agency). I use a performance based approach to studying various aspects of musical practice within Trinidad, and how this enhances women's agency within the public sphere of popular music, creating new kinds of cultural capital for previously underrepresented members of the population. Many different aspects of Trinidad’s expressive culture are discussed and related to the musical genres discussed therein. Trinidad Carnival, its history and aesthetics, receives particular attention. Performance practice within the musical genres of calypso and soca and the music of the steel orchestra are discussed in detail. Within Trinidad, expressive culture, including popular music, is a strong forum for communicating possible inter-personal and inter-gender relations. Thus, music in the Trinidadian context takes an important place alongside larger political projects and concerns. / text