The singing of capeyuye (the Mascogo—Black Seminole people—equivalent of the U.S. spiritual) became a significant token of individual and communal identity in that population. The life and career of Gertrudis Vázquez are studied as emblematic of that tradition. The technical aspects of capeyuye are described and its performance is examined with the context of Mascogo society, particularly its connection with important events such as funerals, birthdays, and other festive occasions.
Culte, Cara L. (author), Schefske, Scott D. (author), Randolph, Elizabeth M. (author), Hooker, Neal H. (author), Nucci, Mary L. (author), Hallman, William K. (author), and Food Policy Institute, New Jersey Agricultural Experiment Station, Rutgers University, New Brunswick, New Jersey.
Format:
Report
Publication Date:
2009-01-29
Published:
International
Location:
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: 189 Document Number: D01542
Notes:
Publication Number RR-1208-017. Via online. 17 pages.
Examines the political and cultural possibilities and limits of the wide-ranging reggae scene that has emerged along both sides of the U.S./Mexico border since the 1990s. It investigates why and how members of seemingly disparate border communities, including Mexicanas/os, Chicanas/os, and Native Americans, find common social and political ground playing Afro-Caribbean inspired music. It also interrogates how people living in the U.S.-Mexico borderlands have responded to the impact of economic and political globalization by using reggae to fashion multiethnic and post-national political formations and social relationships at the grassroots.
