More recently, Omise'eke Natasha Tinsley's GLQ article 'Black Atlantic, Queer Atlantic: Queer Imaginings of the Middle Passage' proposed a rethinking of metaphors of ships, oceans as bodies, and performative bodies (offered by Paul Gilroy, Antonio Benitez Rojo and Judith Butler, respectively), arguing that the black queer Atlantic 'churns differently [...] diffracting meanings', leaving black queer diasporic subjects 'whole and broken', 'brutalized and feeling [...] divided from other diasporic migrants and linked to them' (Smith, F. 2011). Apropos of queer of colour critique, José Esteban Muñoz's Cruising Utopia: The Then and There of Queer Futurity follows his earlier work's commitment to creating alternative visions of performance and performativity, read through a lens constituted in and through cultural theory that affirms futurity, but with a difference. As more individuals trained in social science methodologies contribute to this work, we are beginning to see new possibilities (McCready, 2010). Say it Loud, I'm Black and I'm Proud: Black Pride Survey 2000, Gloria Wekker's The Politics of Passion, Wesley Crichlow's Buller Men and Batty  
Bwoys, David A.B. Murray's Opacity, my own work and Juan Battle's Social Justice Sexuality Project, now under way, have begun to provide ethnographic dimensions and empirical data (Decena, 2011; Moore, 2011; Allen, 2011b) for black queer studies and queer of colour critique.