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12. 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.
13. The natural mystics: Marley, Tosh, and Wailer
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Grant,Colin, (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2011
- Published:
- New York: W.W. Norton
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- The definitive group biography of the Wailers—Bob Marley, Peter Tosh, and Bunny Livingston—chronicling their rise to fame and power and offering a portrait of a seminal group during a period of exuberant cultural evolution. Over one dramatic decade, a trio of Trenchtown R&B crooners swapped their 1960s Brylcreem hairdos and two-tone suits for 1970s battle fatigues and dreadlocks to become the Wailers—one of the most influential groups in popular music. A history of the band is presented from their upbringing in the brutal slums of Kingston to their first recordings and then international superstardom. It is argued that these reggae stars offered three models for black men in the second half of the 20th century: accommodate and succeed (Marley), fight and die (Tosh), or retreat and live (Livingston). The author meets with Rastafarian elders, Obeah men, and other folk authorities as he attempts to unravel the mysteries of Jamaica's famously impenetrable culture and to offer a sophisticated understanding of Jamaican politics, heritage, race, and religion.
14. The routes and roots of danzón: A critique of the history of a genre
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Malcomson,Hettie, (Author)
- Format:
- Journal Article
- Publication Date:
- May; May, 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Popular music
- Journal Title Details:
- 30(2) : 263-278
- Notes:
- Examines the history of a genre that spans several continents and several centuries. Material from Mexico, Cuba, France, and Great Britain are brought together to create anew, expand upon, and critique the standard histories of danzón narrated by Mexico's danzón experts and others. In these standard histories, origins and nationality are key to the constitution of genres that are racialized and moralized for political ends. Danzón, its antecedents, and successors are treated as generic equivalents despite being quite different. From the danzón on, these genres are positioned as being the products of individual, male originators and their nations. Africa is treated as a conceptual nation, and Africanness as something extra that racializes hegemonic European music-dance forms. Political leanings and strategies determine whether these music-dance forms are interpreted, adopted, or co-opted as being black or white.
15. Tradition as adventure: Black music, new Afro-descendant subjects, and pluralization of modernity in Salvador da Bahia
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Pinho,Osmundo de Araújo, (Author)
- Format:
- Book, Section
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Collected Work: Brazilian popular music and citizenship.Pages: 250-266.(AN: 2011-04563).
- 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.
16. Witnessing forced internal displacement in Colombia through vallenato music
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Rodríguez Quevedo,Diana, (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: Song and social change in Latin America.Pages: 123-150.(AN: 2013-02135).
- Notes:
- In Colombia, armed conflict, exacerbated by the war on drugs and the effects of neoliberal economic policies, has forced Afro-Colombian communities in the Chocó region off their land. The author studies the lyrics of a collection of vallenato songs that affirm the identity of the displaced of Chocó and help create solidarity and consciousness about their struggle. She explains the ideological roots of the armed conflict between the state military, the guerilla groups, and the paramilitary units of Colombia. She also describes the displacement she believes is caused by specific economic development projects resulting from 21st-century free-trade agreements between North America and Colombia. She analyzes how the villanato songs bring visibility to an otherwise invisible group of displaced peoples.