Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920-1940University of Pittsburgh Press, 1997 - 320 páginas Annotation "Nationalizing Blackness" uses the music of the 1920s and 1930s to examine Cuban society as it begins to embrace Afrocuban culture. Moore examines the public debate over "degenerate Africanisms" associated with "comparas" or carnival bands; similar controversies associated with "son" music; the history of blackface theater shows; the rise of afrocubanismo in the context of anti-imperialist nationalism and revolution against Gerardo Machado; the history of cabaret rumba; an overview of poetry, painting, and music inspired by Afrocuban street culture; and reactions of the black Cuban middle classes to "afrocubanismo," He has collected numerous illustrations of early twentieth-century performers in Havana, many included in this book. "Nationalizing Blackness" represents one of the first politicized studies of twentieth-century culture in Cuba. It demonstrates how music can function as the center of racial and cultural conflict during the formation of a national identity |
Contenido
Introduction | 1 |
Afrocubans and National Culture | 13 |
Music and Dance of the Teatro Vernáculo | 41 |
Derechos de autor | |
Otras 5 secciones no mostradas
Otras ediciones - Ver todas
Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana ... Robin Moore Vista previa limitada - 1998 |
Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana ... Robin D. Moore Sin vista previa disponible - 1997 |
Términos y frases comunes
acceptance African Afrocuban Afrocuban music afrocubanismo appeared artistic associated authorities band became began beginning cabaret carnival Carpentier celebrations century chapter classes comic comparsa composers compositions conga considered continued contributed created critics Cuba Cuban culture dancers decades derived described developed discuss drum early ensembles especially established European example existed expression figures forms García genres Grenet groups Havana important incorporated influence interest involved jazz José late later living Martínez means middle-class movement mulata mulatto music and dance música musicians nationalist negro nineteenth century North American orchestra organized original Ortiz performed period played political popular presented prominent promoted racial recordings refer remained represented result rumba served Sexteto similar slave social society song Spanish stage street suggests teatro tended term theater tion traditional United University Valdés viewed working-class written