This article deals with the question of ethnic political entrepreneurship in Trinidad. It treats the ethnic entrepreneur as a political operator who has a clear agenda, which is pursued via ethnic means. Though often disguised, the concerns of ethnic entrepreneurs are class concerns and they have definite economic and/or political goals. Two groups of such operators in the Trinidad context are the black nationalists or Afrocentrists and the Hindu nationalists or those who embrace the ideology of Hindutva. Leaders of both groups are seen as pursuing a form of ethnic nationalism that eschews class analysis, that plays upon peoples' insecurities, and that embraces a great deal of myth. Among other things, ethnic entrepreneurs traffic in social divisions, seek to manipulate the emotions of their followers, and carefully avoid any critical, intellectual engagement of the issues involved. [ABSTRACT FROM AUTHOR];
El artículo estudia el proceso histórico mediante el cual la música y la danza provenientes de África y Europa se mezclaron en los llamados "ritmos nacionales", configurando las identidades nacionales en América Latina. Este proceso implicó en cada país complejas negociaciones en asuntos de raza, etnicidad, género y clase social. A manera de ejemplo, el autor profundiza en el ritmo nacional conocido como el candombe uruguayo, pieza central del Carnaval anual de Montevideo desde mediados de 1800. [ABSTRACT FROM AUTHOR];
