Presents the essay Decentering a Discipline: Recent Trends in Latin American Literary Studies, based on a number of books. Cultural Diversity in Latin American Literature, by David William Foster; Do the Americas Have a Common Literature?, edited by Gustavo Perez Firmat; Reclaiming the Author: Figures and Fictions From Spanish America, by Lucille Kerr; Other books used in the essay.;
USA: University of Arkansas, Fayetteville, and Winrock International Institute for Agricultural Development
Location:
Agricultural Communications Documentation Center, Funk Library, University of Illinois Box: KerryByrnes1 Document Number: D01305
Notes:
Kerry J. Byrnes Collection, pages 85-102 in Proceedings of Farming Systems Research/Extension Symposium hosted by the University of Arkansas and Winrock International Institute for Agricultural Development, Fayetteville, Arkansas, October 9-12, 1988. Farming Systems Research Paper Series,Paper No. 17. 395 pages.
Focuses on specific aspects of the independent, creative network of musicians who in the late 1960s and early 1970s bonded together as the nueva canción or nueva canción movement across the Latin American continent, the Caribbean, and Spain. The author traces nueva canción through various key phrases. Nueva canción describes a music enmeshed within historical circumstances which included: the forging of revolutionary culture in Cuba; the coming together of political parties to form a coalition to elect the first ever socialist president in Chile in 1970; resistance to brutal Latin American dictatorships; and the struggle for new democracies. The music was often referred to by different names in different countries. It was known as: nueva cancionero (new song book) in Argentina; nueva canción (new song) in Chile and Peru; nueva trova (new song) in Cuba; and volcanto (volcanic song) in Nicaragua. Nueva canción musicians never saw their music as protest song. Nueva canción was regarded as a social force in itself and a key resource for creating collective bonds. This movement in its various forms was an emblematic music of the 1960s, 1970s, and 1980s. Functioning as both a national and international music, nueva canción has become part of the active memory of this period. Its potent legacy can be seen in the fact that many high-profile commercial singers today continue to be influenced by it: nueva canción continues to be perceived as a legitimate, unifying, and active force for peaceful change.
Considers the meaning of feminism in Latin America and the Caribbean. According to the Methodological and Thematic Commission of the 12th Latin American and Caribbean Feminist Meeting, the event presents an opportunity to explore the routes that will enable feminism to move forward. Decribes feminism in the Latin American and Caribbean regions as plural and diverse.
A graduate of Howard University and the Wharton School of Business in Philadelphia, Crenshaw currently serves as vice president for economic development of the Washington, D.C.-based Organization of Africans in the Americas (OAA). Founded nearly six years ago as a support group, OAA functions as a resource and referral center of data, service and empowerment of Africans in the Americas. Nevertheless, Franklin is eager to point an emerging Black movement across Latin America that is battling to become a part of the political and economic process of the region. "We are now working very hard to ensure that genuine changes are brought about, especially as they affect the lives of the millions of Blacks in Latin America," the OAA executive director said. Some of those changes include linking Black Latin students and other aspiring small entrepreneurs with the Howard University Small Business Center in northwest Washington, D.C. "We are working to develop sustainable linkages between Blacks in America and Blacks in Latin America," said Crenshaw, who noted that Howard already has a growing number of Black Latin American students.
Fischer reviews the two-volume work Blackness in Latin America and the Caribbean: social dynamics and cultural transformations, by Norman E. Whitten Jr. and Arlene Torres>
Review also covers Whither Thou Goest -- Creoles of Color in the Bayou Country by Carl A. Brasseaux and others; and 'Who Set You Flowin'?' by Farah Jasmine Griffin
