Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920-1940

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University of Pittsburgh Pre, 1997 - 336 páginas

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.

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Contenido

INTRODUCTION
1
AFROCUBANS AND NATIONAL CULTURE
13
MINSTRELSY IN HAVANA Music and Dance of the Teatro Verndculo
41
COMPARSAS AND CARNIVAL IN THE NEW REPUBLIC Four Decades of Cultural Controversy
62
ECHALE SALSITA Sones and Musical Revolution
87
NATIONALIZING BLACKNESS The Vogue of Afrocubanismo
114
THE RUMBA CRAZE Afrocuban Arts as International Popular Culture
166
THE MINORISTA VANGUARD Modernism and Afrocubanismo
191
CONCLUSION
215
APPENDIX 1
229
NOTES
243
GLOSSARY
275
REFERENCES
289
INDEX
313
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Página 259 - That the United States hereby disclaims any disposition or intention to exercise sovereignty, jurisdiction, or control over said island except for the pacification thereof, and asserts its determination when that is accomplished to leave the government and control of the island to its people.
Página 238 - Encarnación. Y niña Tomasa se desarticula, y hay olor a selva y hay olor a grajo, y hay olor a hembra, y hay olor a macho, y hay olor a solar urbano, y olor a rústico barracón. Y las dos cabezas son dos cocos secos en que alguno con yeso escribiera arriba, una diéresis, abajo un guión, y los dos cuerpos de los dos negros son dos espejos de sudor. Repican las claves, suena la maraca, zumba la botija se rompe el bongó.
Página 217 - it is significant that much of the most accessible and influential work of the counterhegemony is historical: the recovery of discarded areas, or the redress of selective and reductive interpretations.
Página 167 - ... persist' - yet, from one period to another, they come to stand in a different relation to the ways working people live and the ways they define their relations to each other, to 'the others' and to their conditions of life. Transformation is the key to the long and protracted process of the 'moralisation' of the labouring classes, and the 'demoralisation' of the poor, and the 're-education
Página 236 - Las ancas potentes de niña Tomasa en torno de un eje invisible como un reguilete rotan con furor, desafiando con rítmico, lúbrico disloque el salaz ataque de Che Encarnación : Muñeco de cuerda que, rígido el cuerpo, hacia atrás el busto, en arco hacia'lante abdomen y piernas, brazos encogidos, a saltos iguales de la inquieta grupa va en persecución.
Página 13 - Throughout the long transition into agrarian capitalism and then in the formation and development of industrial capitalism, there is a more or less continuous struggle over the culture of working people, the labouring classes and the poor. This fact must be the starting point for any study, both of the basis for, and of the transformations of, popular culture.
Página 229 - Algún músico cubano, arrastrado por su afrofobia, como Sánchez de Fuentes, llegó a aplaudir cierto bando municipal habanero, dictado en 1900, cuando la primera intervención militar de los Estados Unidos...
Página 245 - En Cuba no hay temor a la guerra de razas. Hombre es más que blanco, más que mulato, más que negro. En los campos de batalla murieron por Cuba, han subido juntos por los aires, las almas de los blancos y de los negros.
Página 261 - Si no oyes la queja de mi voz, Siboney, si no vienes Me moriré de amor. Siboney de mis sueños Te espero con ansia en mi caney. Porque tú eres el dueño De mi amor, siboney.

Acerca del autor (1997)

Robin Moore is an Associate Professor in the School of Music at the University of Texas at Austin.  He has received awards including fellowships from the Rockfeller Foundation, the MacArthur Foundation, and the National Humanities Center and is currently editor of the Latin American Music Review.  His written work includes articles in the Cuban Studies, Ethnomusicology , Encuentro de la cultura cubana, and other journals and book anthologies.

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