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2. New York Afro-Puerto Rican and Afro-Dominican roots music: Liberation mythologies and overlapping diasporas
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Rivera,Raquel Z., (Author)
- Format:
- Journal Article
- Publication Date:
- Fall; Fall, 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 32(2) : 3-24
- Notes:
- The African diaspora has been a key concept adopted by artists, activists, educators, and scholars committed to challenging the specific ways in which the marginalization of blackness has operated and continues to operate among Spanish-speaking Caribbeans and their descendants. This essay focuses on a relatively small network of New York roots musicians of Puerto Rican and Dominican descent who nevertheless have a strong impact on the way the concept of the African diaspora is argued for in local musical, educational, activist, and scholarly circles. They constitute a key component of what Rogers Brubaker has termed the “actively diasporan fraction” who seek “not so much to] describe the world as seek to remake it.” This article documents and analyzes these musicians' reliance on the concept of urban maroonage as a politicized permutation of the concept of the African diaspora and a central component of a liberation mythology and pedagogy. I propose that though this mythology and pedagogy often falls into what Brubaker has criticized as a “non-territorial form of essentialized belonging” it is at the same time a mythology that takes into account what Earl Lewis has termed “overlapping diasporas” as well as the shifting borders of diasporic identity that Juan Flores and others have explored—two key factors in the way diaspora is enacted, but that Brubaker himself fails to address properly.
3. Shared possessions: Black Pentecostals, Afro-Caribbeans, and sacred music
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Reed,Teresa L., (Author)
- Format:
- Journal Article
- Publication Date:
- Spring; Spring, 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 32(1) : 5-25
- Notes:
- There are many parallels between the music and worship of the African American Pentecostalism of the author’s upbringing and that of Afro-Caribbean religious groups, including Trinidadian Spiritual Baptists, the Haitian Heavenly Army, and Jamaican Revival Zionists. This can partly be attributed to their shared West African roots. Many features of West African worship have survived among these two geographically separate groups, including a heavy use of rhythm and percussion instruments, a call and response vocal form, and a climax of spirit possession, when congregants reach a state of rhythmically induced ecstasy in which they feel fully possessed by the divine. Both groups have also independently adopted white Christian hymnody, in which they stay true to the text but often change the music in an improvisatory style.
4. The French vocal Romance and the sorrows of exile in the early American Republic
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Laurance,Emily, (Author)
- Format:
- Journal Article
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Haydn and his contemporaries.Pages: 153-178.(AN: 2011-05018).
- Notes:
- Examines the transplantation of the vocal romance from France to the Federalist U.S, focusing on romances by Eugène Guilbert (1758–1839) and Jean-Baptiste Renaud de Chateaudun (fl. 1795). The songs are described as both vehicles of nostalgia for the ancien régime and the French colony of Sainte-Domingue, and aspects of the new post-revolutionary reality. Both composers came from the Caribbean region and settled on the East Coast of the U.S.
5. “Tropical mix”: Afro-Latino space and Notch’s reggaetón
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Rivera,Petra R., (Author)
- Format:
- Journal Article
- Publication Date:
- May; May, 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Popular music and society
- Journal Title Details:
- 34(2) : 221-235
- Notes:
- Examines how Connecticut-born reggaetón artist Notch incorporates oratorical, visual, and musical cues in his music video, Qué te pica (What's itching you?), to establish connections between Latino and Caribbean communities in the U.S. These communities have typically been disavowed by hegemonic racial categories that distinguish between them. While Notch’s music disrupts these particular racial hierarchies, he also maintains hetero-normative patriarchal relations in his video. An analytic, Afro-Latino space is proposed to account for the ways that reggaetón as a musical genre, and Notch more specifically, unsettle certain distinctions between blackness and Latinidad, while simultaneously relying on stereotypes of black hypermasculinity.