Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana, 1920-1940University of Pittsburgh Pre, 1998 M01 15 - 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. |
Dentro del libro
Resultados 1-5 de 71
Página 5
... twentieth century eventually appropriated particular genres of Afrocuban music for the nation , yet they were hard pressed to do so , given the long - standing bias against them . African - derived culture in an abstract sense may have ...
... twentieth century eventually appropriated particular genres of Afrocuban music for the nation , yet they were hard pressed to do so , given the long - standing bias against them . African - derived culture in an abstract sense may have ...
Página 7
... twentieth century , the nationalization of once marginal music typically resulted in its stylistic transformation . This tendency underscores the bounded nature of much commercial music making and helps us to recognize that taken ...
... twentieth century , the nationalization of once marginal music typically resulted in its stylistic transformation . This tendency underscores the bounded nature of much commercial music making and helps us to recognize that taken ...
Página 8
... twentieth - century Cuba , but their work remains largely fo- cused on political , economic , and social issues . The same can be said of most historians living in Cuba , where this tendency is , if anything , more pronounced . Part of ...
... twentieth - century Cuba , but their work remains largely fo- cused on political , economic , and social issues . The same can be said of most historians living in Cuba , where this tendency is , if anything , more pronounced . Part of ...
Página 9
... twentieth century , belief in the biologically based superiority of the Caucasian race was widely accepted in most Western countries and justified actions taken against other groups . However , such ideas have been discredited in recent ...
... twentieth century , belief in the biologically based superiority of the Caucasian race was widely accepted in most Western countries and justified actions taken against other groups . However , such ideas have been discredited in recent ...
Página 11
... twentieth century . ( Before the Wars of Independence , carnival had been almost exclusively for white par- ticipants . ) In a theoretical sense , chapter 3 addresses the relevance of Bakhtinian models in evaluating the meaning of ...
... twentieth century . ( Before the Wars of Independence , carnival had been almost exclusively for white par- ticipants . ) In a theoretical sense , chapter 3 addresses the relevance of Bakhtinian models in evaluating the meaning of ...
Contenido
| 1 | |
| 13 | |
| 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 |
Otras ediciones - Ver todas
Nationalizing Blackness: Afrocubanismo and Artistic Revolution in Havana ... Robin D. Moore Vista de fragmentos - 1997 |
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 classes comic comparsa composers compositions conga considered continued contributed created critics Cuba Cuban culture decades derived described developed discuss drum early ensembles especially established European example existed expression figure forms García genres Grenet groups Havana important incorporated influence instance 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
Pasajes populares
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.