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2. 'Chango 'ta veini'/chango has come': Spiritual embodiment in the Afro-Cuban ceremony, bembé
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Murphy,Joseph M., (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) : 69-94
3. African diaspora and Colombian popular music in the twentieth century
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Wade,Peter (Author)
- Format:
- Journal Article
- Publication Date:
- 2008
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 28(2) : 41
- Notes:
- Explores the idea of diaspora and musical exchanges in relation to changes in Colombian popular music, specifically that from the Caribbean coastal region of the country, often identified as more or less African-influenced. It traces changes that occurred from the 1920s onward, with the commercialization of cumbia and porro and related styles, and looks also at more recent developments around vallenato, champeta, and rap.
4. An ethnographic comparison of Caribbean quadrilles
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Daniel,Yvonne (Author)
- Format:
- Journal Article
- Publication Date:
- 2010
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 30(2) : 215
- Notes:
- Research on Caribbean dance has revealed consistent ongoing contredanse-related practices since the 17th c. in the Spanish islands and since the 18th c. in the French, British, Dutch, and former Danish islands. The Caribbean forms that emerged do not stand together in an obvious manner because of diverse names for similar configurations and different forms. The discussion, based on comparative fieldwork and a survey of Caribbean dance practices, attempts to overcome some of these difficulties and to show pointedly that Caribbean quadrilles by many names express the ongoing but submerged agency of African-descended performers, that Caribbean dance history and categorization are lacking, and that the royal pageantry that is associated with quadrille performance is significant.
5. Black music research journal
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Dudley,Shannon (Editor)
- Format:
- Journal Article
- Publication Date:
- Spring, 2012
- Published:
- Champaign, IL: Center for Black Music Research - Columbia College Chicago and University of Illinois Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Black music research journal
- Journal Title Details:
- 32(1): 1-191
- Notes:
- Special Religion issue, Includes Martha Ellen Davis, "Diasporal dimensions of Dominican folk religion and music"; Loren Y. Kajikawa, D'Angelo's voodoo technology: African cultural memory and the ritual of popular music consumption"; Joseph M. Murphy, "'Chango 'ta vein'/chango has come': Spiritual embodiment in the Afro-Cuban ceremony, bembé"; Teresa L. Reed, "Shared possessions: Black Pentecostals, Afro-Caribbeans, and sacred music"; and Rebecca Sager, "Transcendence through aesthetic experience: Divining a common wellspring under conflicting Caribbean and African American religious value systems."
6. Curaçao and the folding diaspora: Contesting the party tambú in the Netherlands
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- De Jong, Nanette T., (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) : 67-81
- Notes:
- Tambú represents a ritual from Curaçao, largest of the Netherlands Antilles, employed by the island’s African peoples as a religio-spiritual vehicle. In Dutch mainland cities, however, the Tambú has developed into a type of party music, with Curaçaoan immigrants joining other African and Afro-Caribbean immigrants to explore and express complex collective identities. These reinvented tambú parties constitute new sites of cultural reproduction as well as contestation, of solidarity as well as difference, providing the rare occasion to observe diasporic belonging among Afro-Caribbean communities in the Netherlands. These contemporary tambú parties provide a needed space to negotiate competing and overlapping identities, enabling both a specific Antillean identity as well as a more inclusive diasporic identity.
7. D'Angelo's voodoo technology: African cultural memory and the ritual of popular music consumption
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Kajikawa,Loren Y., (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) : 137-159
- Notes:
- Unedited] Focusing on R&B neo-soul singer D’Angelo’s 1999 album Voodoo, this article explores the relationship (both real and imagined) between African American popular music and Afro-Caribbean religion. While most songs on the album do not use traditional Caribbean rhythms, the album’s imagery appears to equate Voodoo’s blend of funk, soul, and gospel with Afro-Diasporic religious practices such as Santeria or Vodou. Not only do D’Angelo’s own statements about the album affirm this connection, but his fans also contribute valuable evidence supporting the link. Surveying the reception of Voodoo by music critics as well as hundreds of online customer reviews of the album via Amazon.com, I argue that D’Angelo’s listeners characterize the album as an inner-directed musical experience approximating spirit-possession. By consicously linking the repetitious, circular grooves of black popular music with the form and function of Afro-Diasporic religious traditions, D’Angelo and his fans testify to the value of black spirituality and offer a critique of the hypermasculinity and materialism pervading contemporary hip-hop and rap music. Voodoo refocuses our attention on the spiritual qualities of African American music that persist even in an age of mass-mediated global capitalism.
8. Diaspora and its theorization
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Bilby,Kenneth M. (Editor)
- Format:
- Journal Article
- Publication Date:
- 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) : 1-93
- Notes:
- Special journal issue: New Perspectives on the Black Music Diaspora: Focus on the Caribbean., Includes Roger D. Abrahams, Questions of competency and performance in the black musical diaspora; Rose Mary Allen, Music in diasporic context: The case of Curaçao and intro-Caribbean migration; Nanette T. De Jong, Curaçao and the folding diaspora: Contesting the party tambú in the Netherlands; Elizabeth Mcalister, Listening for geographies: Music as sonic compass pointing toward African and Christian diasporic horizons in the Caribbean; and Raquel Z. Rivera, New York Afro-Puerto Rican and Afro-Dominican roots music: Liberation mythologies and overlapping diasporas.
9. Diasporal dimensions of Dominican folk religion and music
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Davis,Martha Ellen, (Author)
- Format:
- Journal Article
- Publication Date:
- 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) : 161-191
- Notes:
- "Dominican culture and society can be characterized as a hybrid whose nature is expressed in various domains. For example, folk or popular Catholicism, the religion of some 90 percent of the national population, is in summary a cultural amalgamation. But deconstructed, it can be seen to retain elements of the various contributors to its eclectic configuration: Spanish of different regions, classes, Catholic religious orders, and even religions with regard to Judaic and Islamic features retained in Spanish folk Catholicism; West and Central African of various ethnic origins; continuities of native Taíno beliefs and practices; and other origins, such as the possible East Indian origin of the vodú deity of the “black” Guedé family, Santa Marta la Dominadora." -The Author
10. Listening for geographies: Music as sonic compass pointing toward African and Christian diasporic horizons in the Caribbean
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- McAlister,Elizabeth, (Author)
- Format:
- Journal Article
- Publication Date:
- 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) : 25-50
- Notes:
- Can musical sounds reveal history, or collective identity, or new notions of geography, in different ways than texts or migrating people themselves? This essay offers the idea that the sounds of music, with their capacity to index memories and associations, become sonic points on a cognitive compass that orients diasporic people in time and space. Explores grassroots religious musical productions to show that Afro-Caribbean groups can stake out multiple diasporic identities in overlapping diasporic spaces through the various political registers of tribe, kingdom, and nation.