Search

    Start Over Format Journal Article Subject Term USA Subject Term performers

    1. Cantar la negritud: Capeyuye e identidad mascoga en la frontera México-Estados Unidos

    <span class="translation_missing" title="translation missing: en.bibleaves.discover_item">Discover Item</span>
    Collection:
    Black Caribbean Literature (BCL)
    Contributers:
    Madrid,Alejandro L., (Author)
    Format:
    Journal Article
    Publication Date:
    June; June-Sept, 2012
    Location:
    African American Research Center, Library, University of Illinois at Urbana-Champaign
    Journal Title:
    Boletín música
    Journal Title Details:
    32 : 3-22
    Notes:
    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.

    2. “Tropical mix”: Afro-Latino space and Notch’s reggaetón

    <span class="translation_missing" title="translation missing: en.bibleaves.discover_item">Discover Item</span>
    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.