African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
219 p., This book investigates Kamau Brathwaite's and Derek Walcott's postcolonial debates, reading them against the traditional sites of the Caribbean imaginary.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
256 p, Spotlights the religious performance practices that influence many popular and folk music traditions throughout the Caribbean and the Americas, as well as globally. Myriad styles of music–including rumba, salsa, latin jazz, and hip-hop–have their roots in the religious performance traditions of the African diaspora.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
173 p, Contents: O intérprete negro na música brasileira nos séculos XVIII e XIX -- Joaquina Maria da Conceição Lapa (Lapinha) -- Camila Maria da Conceição -- Principais apresentações e repertório de Joaquina Maria da Conceição Lapa (Lapinha) --Pincipais apresentações de Camila Maria da Conceição (1892-1908).
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
329 p., Just beneath the surface of most scholars’ research on the ethno-racial composition of Spanish-speaking America lies a definitive connection between the African Diaspora and the Latin American identity. Although to a lesser extent, this is also true of Portuguese-speaking Brazil––the existence of African-related people and their role as an integral part of the total Latin ethnicity currently appears to be more readily accepted and discussed in Brazil than in other Latin American countries. Afro-Peruvians, Afro-Colombians, Afro-Venezuelans, Afro-Uruguayans, or Afro-Mexicans––to name just a few––are rarely openly acknowledged in most of Spanish-speaking Latin America.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
187 p., Looks primarily at Negrismo and Negritude, two literary movements that appeared in the Francophone and Hispanic Caribbean as well as in Africa at the beginning of the twentieth century. It draws on speeches and manifestos, and use cultural studies to contextualize ideas.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
772 p., George Gershwin introduced Afro Cuban Music in America in 1926. Xavier Cugat during the 1930's introduced The Rumba dance. Three great innovations based on Cuban music hit the USA after World War II: the first was Cubop, the latest Latin jazz fusion. The rumbustious conguero Chano Pozo was also important, for he introduced jazz musicians to basic Cuban rhythms. Cuban jazz has continued to be a significant influence. The mambo first entered the United States around 1950, though ideas had been developing in Cuba and Mexico City for some time.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
259 p., Explores the many aspects of Negritude - both as a concept and as a movement. Provides an account of its historical origins and examines the sociological and ideological background of themes that have preoccupied French-speaking black writers and intellectuals.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
304 p., Exploration of literary and cultural exchanges between the United States and the Caribbean during the roughly eighty-year period of their greatest interaction, from the close of the Spanish-American War to the Cuban Revolution. The interconnected histories of colonization, migration, slavery, and political struggle thrust writers from both regions into a vibrant literary conversation across national borders.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
274 p., Explores the poetry and prose of Caribbean women writers, revealing in their imagery a rich tradition of erotic relations between women. She takes the book's title from Dionne Brand's novel In Another Place, Not Here, where eroticism between women is likened to the sweet and subversive act of cane cutters stealing sugar. The natural world is repeatedly reclaimed and reinterpreted to express love between women in the poetry and prose that Tinsley analyzes.
