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2. Cumbia music in Colombia: Origins, transformations, and evolution of a coastal music genre
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- D'Amico,Leonardo, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Cumbia!: Scenes of a migrant Latin American music genre.Pages: 29-48.(AN: 2013-03996).
- Notes:
- The Caribbean coastal region of Colombia is called the costa, and its inhabitants are referred to as costeños. The müsica costeña (coastal music) is a product of tri-ethnic syncretic cultural traditions including Amerindian, Spanish, and African elements, a merging that begins with the colonial period and continues into the republican period on the Caribbean Coast. Traditional music from the Colombian Caribbean coast expresses its tri-ethnic costeño identity in various vocal styles and musical forms and through its types of instruments and the way they are played. This essay describes the aspects and circumstances under which cumbia, a coastal musical genre and dance form of peasant origins characterized by an African-derived style, has spread from its local origins in the valley of the Magdalena River to acquire a Colombian national identity, becoming in a few years a transnational musical phenomenon.
3. Las manifestaciones de la musicalidad afro-brasileira practicadas en la ciudad de Juazeiro do Norte
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Diniz,Jé (Author) and Sáenz Coopat, Carmen María, (Trans.)
- Format:
- Journal Article
- Publication Date:
- Jan; Jan-June, 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Boletín música
- Journal Title Details:
- 34 : 109-120
- Notes:
- Afro-Brazilian traditions in the city of Juazeiro do Norte, in the state of Ceará, evolved mostly in connection with the practice of Candomblé and related rituals. Similarly to what happened elsewhere in Brazil, transculturation and miscegenation became important features of these traditions, especially in the blending of African and Catholic religious practices. The song and dance associated with religious and secular Afro-Brazilian genres in Juazerio do Norte are examined.
4. Miskitu children's singing games on the Caribbean coast of Nicaragua as intercultural play and performance
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Minks,Amanda, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2013
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: The Oxford handbook of children's musical cultures.Pages: 218-231.(AN: 2013-00739).
- Notes:
- Examines children's musical practices on Corn Island, some 52 miles off the Caribbean coast of Nicaragua, which has long been a site of cross-cultural interaction and exchange. In 1987, as part of the postwar peace agreements, two autonomous regions—north and south—were established on the Caribbean coast of Nicaragua. The cultural and education aspects of autonomy came to be envisioned largely through concepts of interculturalidad, or interculturalism. Children's musical practices enter into discourses of interculturalism in several ways. They are often important symbols of the future; informal genres of vernacular expression (such as singing games) are a key resource for curricular reform that aims to bring regional folklore into the classroom; and they are central to processes of cultural interaction, exchange, and transformation. This is because children's activities are often oriented toward playful improvisation and because children are key actors in processes of socialization and adaptation to changing circumstances. Expressive practices such as music are dialogic tools through which differences are enacted, through which boundaries are constructed within and between social groups. This understanding of interculturalism as an everyday practice helps us see how culture emerges from interaction and play and how communication is accomplished using a diverse pool of resources. This essay focuses on the children of Miskitu migrants on Corn Island, particularly on singing game performance.
5. The color of sound: Race, religion, and music in Brazil
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Burdick,John, (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2013
- Published:
- New York: New York University
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- Throughout Brazil, Afro-Brazilians face widespread racial prejudice. Many turn to religion, with Afro-Brazilians disproportionately represented among Protestants, the fastest-growing religious group in the country. Officially, Brazilian Protestants do not involve themselves in racial politics. Behind the scenes, however, the community is deeply involved in the formation of different kinds of blackness—and its engagement in racial politics is rooted in the major new cultural movement of black music. In this account, the complex ideas about race, racism, and racial identity that have grown up among Afro-Brazilians in the black music scene are explored. The author immersed himself for nearly a year in the vibrant worlds of black gospel, gospel rap, and gospel samba in order to better understand racial identity and the social effects of music. Delving into the everyday music-making practices of these scenes, it is shows how the creative process itself shapes how Afro-Brazilian artists experience and understand their racial identities. The results challenge much of what some people thought they knew about Brazil's Protestants, provoking one to think in new ways about their role in their country's struggle to combat racism.
6. 'A limp with rhythm': Convergent choreographies in Black Atlantic time
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Hutchinson,Sydney, (Author)
- Format:
- Journal Article
- Publication Date:
- 01/01; 2012
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Yearbook for traditional music
- Journal Title Details:
- 44 : 87-108
- Notes:
- The concept of limping is widespread in various forms of music and dance in the northern Cibao region of the Dominican Republic. A limp is said to characterize the way in which accordion and percussion instruments interpret rhythms in merengue típico music, and some consider it a feature distinguishing the típico style of merengue from other styles around the country. Traditionally, merengue típico is also danced with a limping movement. Moreover, the typical Carnival characters of the Cibaeño cities Santiago and La Vega are also meant to move with limps. Musicians, dancers, and Carnival celebrants give various verbal explanations to explain the limp’s history and importance, and many of these tie it to stories about devils or other amoral characters. The limp is, however, not only a local stylistic feature, but one that connects Cibaeño culture with other expressions involving limps around the Caribbean region, from blues rhythms to zydeco dancing to the so-called pimp walk. The connective tissue between all these diverse cultural expressions might be Esu, Elegguá, or Papa Legba, the deity of the crossroads who limps, is sometimes syncretized with the Christian devil, and is invoked at the beginning and end of vodou and santería ceremonies. This article uses data collected through interviews with merengue típico musicians and dancers, four years’ participation in Santiago Carnival, and the theories of Henry Louis Gates and Paul Gilroy to explore Black Atlantic expressions in a Dominican context, while explaining the connections between dance and music from a Cibaeño perspective., unedited non–English abstract received by RILM] El concepto de “cojear” está muy extendido en diversos géneros de música y de baile en la región norteña de la República Dominicana denominada el Cibao. Se dice que el “cojo” caracteriza la forma en que el acordeón y los instrumentos de percusión interpretan los ritmos del merengue típico, y algunos lo consideran una característica que distingue el estilo típico cibaeño del merengue de los merengues de otras regiones el país. El merengue típico tradicional también se bailaba “cojeando.” Por otra parte, los personajes típicos del carnaval cibaeño en las ciudades de Santiago y La Vega también avanzan, según se dice, con un “cojo.” Músicos, bailarines, y carnavaleros dan varias explicaciones verbales sobre la historia y la importancia del cojo, y muchas se lo atan a historias sobre diablos y otros personajes amorales. Sin embargo, el cojo no es solamente una característica estilística local, sino una que conecta la cultura cibaeña con otras expresiones del “cojo” en toda la región caribeña, desde los ritmos blues hasta el baile del zydeco y el “pimp walk.” El tejido conectivo entre todas estas diversas expresiones culturales podría ser Esu, Eleguá, o Papa Legba, el dios de las encrucijadas que cojea, que a veces se sincretiza con el diablo cristiano, y a quien se invoca al comienzo y al final de las ceremonias de vudú y de la santería. El presente artículo utiliza los datos recogidos a través de entrevistas con músicos y bailarines del merengue típico, cuatro años de participación en el carnaval santiaguero, y las teorías de Henry Louis Gates y Paul Gilroy para explorar las expresiones del Atlántico Negro en un contexto dominicano, mientras explique las conexiones entre la danza y la música desde una perspectiva cibaeña.
7. Cantar la negritud: Capeyuye e identidad mascoga en la frontera México-Estados Unidos
- 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.
8. Music in diasporic context: The case of Curaçao and intro-Caribbean migration
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Allen,Rose Mary, (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) : 51-65
- Notes:
- Examines the role of successive intraregional migrations on the construction of cultural identity in Curaçao, Netherlands Antilles. The author analyzes the Afro-Dutch experience within the broader canvas of Caribbean migration studies, and thus brings a broader diasporic perspective to current research of identity and culture, with particular reference to Curaçao. Through migrations, the island has incorporated different kinds of musical expressions of the region. Of all cultural forms, music provides an ideal opportunity to explore cultural exchanges within and beyond diasporas. Curaçao therefore offers a rare window for viewing the role of intraregional migrations in the formation of discourses on diaspora and cultural identity. Migration studies that look only at the modern transnationalistic diapora obscure the deeply rooted significance of migration on Afro-diasporic identity within the Caribbean and the cultural identity of specific island societies. Intraregional migration movements both past and present profoundly influenced the cultural identity of Curaçao and its diasporic historical vision. Curaçaoan cultural identity has not been solely shaped by the internal dynamics of a merging of African and European cultures, but also intraCaribbean interactions of the descendants of enslaved Africans.
9. Musics of Latin America
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Moore,Robin Dale, (Ed.And Intro.) and Clark,Walter Aaron, (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2012
- Published:
- New York: W.W. Norton
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- The following contributions are cited separately in RILM: Walter Aaron CLARK, Latin American impact on contemporary classical music (RILM ref]2012-19875/ref]); John KOEGEL, Mexico (RILM ref]2012-19870/ref]); Cristina MAGALDI, Brazil (RILM ref]2012-19873/ref]); Robin Dale MOORE, Cuba and the Hispanic Caribbean (RILM ref]2012-19872/ref]); Daniel PARTY, Twenty-first century Latin American and Latino popular music (RILM ref]2012-19876/ref]); Jonathan RITTER, Peru and the Andes (RILM ref]2012-19865/ref]); Deborah SCHWARTZ-KATES, Argentina and the Rioplatense Region (RILM ref]2012-19874/ref]); Thomas M. SCRUGGS, Central America, Colombia, and Venezuela (RILM ref]2012-19871/ref]); Susan THOMAS, Music, conquest, and colonialism (RILM ref]2012-19869/ref]).
10. Rebel dance, renegade stance: Timba music and Black identity in Cuba
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Vaughan,Umi A., (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2012
- Published:
- Ann Arbor: University of Michigan Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- Unedited] Shows how community music-makers and dancers take in all that is around them socially and globally, and publicly and bodily unfold their memories, sentiments, and raw responses within open spaces designated or commandeered for local popular dance. The book reveals a rarely discussed perspective on contemporary Cuban society during the 1990s, the peak decade of timba, and beyond, as the Cuban leadership transferred from Fidel Castro to his brother. Simultaneously, it reveals popular dance music in the context of a young and astutely educated Cuban generation of fierce and creative performers. By looking at the experiences of black Cubans and exploring the notion of 'Afro Cuba', the book explains timba's evolution and achieved significance in the larger context of Cuban culture. It discusses a maroon aesthetic extended beyond the colonial era to the context of contemporary society; describes the dance spaces of Cuba; and examines the performance of identity and desire through the character of the 'especulador'.
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