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2. 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.
3. Tambú: Curaçao's African-Caribbean ritual and the politics of memory
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- De Jong, Nanette T., (Author)
- Format:
- Book, Whole
- Publication Date:
- 01/01; 2012
- Published:
- Bloomington: Indiana University Press
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Notes:
- As contemporary tambú music and dance evolved on the Caribbean island of Curaçao, it intertwined sacred and secular, private and public cultural practices, and many traditions from Africa and the New World. As she explores the formal contours of tambú, the author discovers its variegated history and uncovers its multiple and even contradictory origins. She recounts the personal stories and experiences of Afro-Curaçaoans as they perform tambú–some who complain of its violence and low-class attraction and others who champion tambú as a powerful tool of collective memory as well as a way to imagine the future.
4. 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.
5. Wanaragua: La clave rítmica garífuna como epicentro del mestizaje afroamericano
- Collection:
- Black Caribbean Literature (BCL)
- Contributers:
- Pérez Guarnieri,Augusto, (Author)
- Format:
- Journal Article
- Publication Date:
- 01/01; 2011
- Location:
- African American Research Center, Library, University of Illinois at Urbana-Champaign
- Journal Title:
- Tradiciones de Guatemala
- Journal Title Details:
- 75 : 173-191
- Notes:
- Considers the characteristic features of Garífuna music, which are intrinsically related to the history of slavery, warfare, miscegenation, and resistance of this people of African and Caribbean ancestry, living today mainly on the Atlantic Coast of Central America and in the U.S. Based on his analysis of the Wanaragua or Yancunú rhythm, performed in Livingston, Guatemala, by dancers wearing shell rattles (illacu) tied to their ankles, and a musical ensemble consisting of two drums (garaón) and gourd rattles (sisira), the author examines the metric ambiguity of its basic “time line” or 'clave' of 3:3:2 as well as the rhythmic flexibility and unpredictability with which the dancers and musicians relate to it, as a musical expression of the social and cultural conditions created by that history, especially by the processes of miscegenation.