African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
[Unedited] Examines the 1948 Mexican film-musical Angelitos negros (Little Black angels) as an example of how racial otherness and its exploitation could be staged, both on the stage itself, and on the stage-within-a-stage of the Latin American melodrama, in which cabarets and other performance venues were common backdrops. In using Afro-Cuban or Afro-Caribbean music, dance, and cultural icons, the film exhibits the allure of Blackness within the frame of popular music and dramatic performances, and the ways in which the Blackness was more easily simulated than assimilated. Subsequent use of blackface for Black and mulatto characters in many Mexican or Cuban-Mexican films is coupled with blackface and Afro-Cuban musical performances. Parody and caricature result in a superficial rendering of Blackness in this and other film musicals. They should be viewed as ambivalent vehicles for the vindication of the Black role in Mexican or Latin-American history.
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.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
Examines aspects related to the plural constitution of Afro-descendants informed by black discursiveness in Salvador, Bahia. This discursiveness is strongly marked by the role of black music and by the history of Afro-descendant Carnaval. This essay shows that these subjects are a product of modernization and operate in it, while giving it a specific configuration. Social agents as 'reflexive audience' play a decisive role in the review and criticism of such modernity, pluralizing it and pushing the boundaries of democracy and of representation politics, in their demand for recognition and changes. Music, as discursive production and as sociability experience, plays a key part in this process.
