Published by: University of Michigan Press
Publication Year: 2010, 292 pages
Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic-Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others-highlighting contemporary popular, folkloric, and religious music and dance. By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance a . .
Contents
Introduction
Located simultaneously inside and outside Weste modeities and aesthetics, Afro-Atlantic peoples have used music and dance to continually represent and reinvent their multiple bases of identity—physically, emotionally, and intellectually. through the two genres, these communities dramatize, articulate, and appreciate their historical narratives in relation to african, european, .
I. Religion
The Economic Vitamins of Cuba: Sacred and Other Dance Performance
Performing Pentecostalism: Music, Identity, and the Interplay of Jamaican and African American Styles
A growing trend in contemporary African American gospel has been the incorporation of West Indian influences in performances and commercial recordings. This trend is not particularly surprising, since for decades,music scholars have recognized the transnational ties between Jamaica and the United States. These ties have had a profound impact on the development of sacred.
The Women Have on All Their Clothes: Reading the Texts of Holy Hip-Hop
Hip-hop, a billion-dollar global phenomenon comprised of graffiti art, tutable artistry, break dancing, and rap, has evoked some of the most complex and incendiary public discourse of the last thirty years. With music and cultural critics citing rap music’s role in educating youth and in showcasing the pro-woman lyrical power of some female.
II. Dance
Rhythmic Remembrances
In the dancing and music-making communities that I study, I see power, endurance, joy, and rapture; I see this in the visual display of worshiping, performing, believing dancers and musicians.When I witness the most common scenes of ritual performance in Haiti, Cuba, or Brazil, I am reminded of a stage full of Chicano couple dancers in Califoia’s Cinco de Mayo celebrations,
Citizenship and Dance in Urban Brazil: Grupo Corpo, a Case Study
Arguably, civil society in certain countries of Latin America and the Caribbean is in a state of ruin. Perhaps because of that, the conceptualization of citizenship has become a critical point of interrogation. Arjun Appadurai and James Holston posit,.
Muscle/Memories: How Germaine Acogny and Diane McIntyre Put Their Feet Down
In this essay, I stage a duet between two contemporary choreographers, one Senegalese and one African American, both women of roughly the same age. I try to decipher the distinctive ways in which they vivify their African heritage in order to gain additional perspectives on how the body might participate in creating a sense of agency for a subject under duress. This inquiry.
To Carry the Dance of the People Beyond: Jean L?on Destin?, Lavinia Williams, and Danse Folklorique Ha?tienne
During the week of April 7, 1951, the Haiti Tourist Information Bureau (HTIB) and the city of New York sponsored a series of cultural events celebrating Haiti Week of New York. The festivities not only served as a platform to display the ‹nest in Haitian culture but also functioned as an appeal for collaboration for the U.S. govement and its citizens to fully participate.
III. Contemporary Music
Motherland Hip-Hop: Connective Marginality and African American Youth Culture in Senegal and Kenya
On October 8, 2006, an important event in the evolution of African hip-hop took place in the Cargo Club in London, England. It was an African hip-hop festival called Afrolution, featuring hip-hop music groups from five different countries—Zimbabwe,Malawi, Kenya, Gambia, and South Africa. Produced by Afrolution Records, this festival represented the.
New York Bomba: Puerto Ricans, Dominicans, and a Bridge Called Haiti
It must have been around 1995, and I had just witnessed an energetic performance by the Brooklyn-based Haitian roots music ensemble Dja-Rara at a show produced by the Caribbean Cultural Center in a large Manhattan theater space. Dja-Rara’s main dancer had particularly captivated me:.
Talking Drums: Soca and Go-Go Music as Grassroots Identity Movements
Soca music is a fast-paced derivative of calypso. Its name is derived from Lord Shorty’s self-described mission to ‹nd the soul of calypso.1 It was created in the 1970s by the calypsonian Garfield Blackman, better known as Lord Shorty or the Father of Soca, who began.
Warriors of the Word: Rapso in Trinidad’s Festival Culture
Rapso, de power of de word in de riddim1 of de word, is a genre of lyrically oriented rhythmic performance and music from Trinidad. It is deeply rooted in the traditions of oral culture and resistance associated with Caival, Trinidad and Tobago’s pre-Lenten festival.
Timba Brava: Maroon Music in Cuba
Nowadays all acknowledge the boom of Cuban popular dance music that occurred at the opening of the 1990s and maintained itself until the closing of that decade.1 During that period, the musical practices, instrumentation, treatments of traditional themes, and all-new thematic content based on emergent realities—in short, the sound that was bo.
Salsa Memory: Revisiting Grupo Folkl?rico y Experimental Nuevayorquino
Eddie Palmieri makes it a point these days to remind us that La Perfecta II is not meant to be a revival band. Rather than reviving, he thinks of this present-day remake of his groundbreaking band from the early 1960s, Conjunto La Perfecta, as revisiting an earlier concept and context. Instead of just a rerun of an older phenomenon, revisiting is a more creative,.
Epilogue: Performing Memories—The Atlantic Theater of Cultural Production and Exchange
Rhythms of the Afro-Atlantic World emerges out of a conference, Rhythms of the Atlantic World: Rituals and Remembrances, held at the University of Michigan in the spring of 2005. Conference participants explored the ways the peoples of the Atlantic tued to music, dance, and religious rituals to express their experiences of crossing and recrossing that.
Contributors
Index
Publication Year: 2010, 292 pages
Along with linked modes of religiosity, music and dance have long occupied a central position in the ways in which Atlantic peoples have enacted, made sense of, and responded to their encounters with each other. This unique collection of essays connects nations from across the Atlantic-Senegal, Kenya, Trinidad, Cuba, Brazil, and the United States, among others-highlighting contemporary popular, folkloric, and religious music and dance. By tracking the continuous reframing, revision, and erasure of aural, oral, and corporeal traces, the contributors to Rhythms of the Afro-Atlantic World collectively argue that music and dance a . .
Contents
Introduction
Located simultaneously inside and outside Weste modeities and aesthetics, Afro-Atlantic peoples have used music and dance to continually represent and reinvent their multiple bases of identity—physically, emotionally, and intellectually. through the two genres, these communities dramatize, articulate, and appreciate their historical narratives in relation to african, european, .
I. Religion
The Economic Vitamins of Cuba: Sacred and Other Dance Performance
Performing Pentecostalism: Music, Identity, and the Interplay of Jamaican and African American Styles
A growing trend in contemporary African American gospel has been the incorporation of West Indian influences in performances and commercial recordings. This trend is not particularly surprising, since for decades,music scholars have recognized the transnational ties between Jamaica and the United States. These ties have had a profound impact on the development of sacred.
The Women Have on All Their Clothes: Reading the Texts of Holy Hip-Hop
Hip-hop, a billion-dollar global phenomenon comprised of graffiti art, tutable artistry, break dancing, and rap, has evoked some of the most complex and incendiary public discourse of the last thirty years. With music and cultural critics citing rap music’s role in educating youth and in showcasing the pro-woman lyrical power of some female.
II. Dance
Rhythmic Remembrances
In the dancing and music-making communities that I study, I see power, endurance, joy, and rapture; I see this in the visual display of worshiping, performing, believing dancers and musicians.When I witness the most common scenes of ritual performance in Haiti, Cuba, or Brazil, I am reminded of a stage full of Chicano couple dancers in Califoia’s Cinco de Mayo celebrations,
Citizenship and Dance in Urban Brazil: Grupo Corpo, a Case Study
Arguably, civil society in certain countries of Latin America and the Caribbean is in a state of ruin. Perhaps because of that, the conceptualization of citizenship has become a critical point of interrogation. Arjun Appadurai and James Holston posit,.
Muscle/Memories: How Germaine Acogny and Diane McIntyre Put Their Feet Down
In this essay, I stage a duet between two contemporary choreographers, one Senegalese and one African American, both women of roughly the same age. I try to decipher the distinctive ways in which they vivify their African heritage in order to gain additional perspectives on how the body might participate in creating a sense of agency for a subject under duress. This inquiry.
To Carry the Dance of the People Beyond: Jean L?on Destin?, Lavinia Williams, and Danse Folklorique Ha?tienne
During the week of April 7, 1951, the Haiti Tourist Information Bureau (HTIB) and the city of New York sponsored a series of cultural events celebrating Haiti Week of New York. The festivities not only served as a platform to display the ‹nest in Haitian culture but also functioned as an appeal for collaboration for the U.S. govement and its citizens to fully participate.
III. Contemporary Music
Motherland Hip-Hop: Connective Marginality and African American Youth Culture in Senegal and Kenya
On October 8, 2006, an important event in the evolution of African hip-hop took place in the Cargo Club in London, England. It was an African hip-hop festival called Afrolution, featuring hip-hop music groups from five different countries—Zimbabwe,Malawi, Kenya, Gambia, and South Africa. Produced by Afrolution Records, this festival represented the.
New York Bomba: Puerto Ricans, Dominicans, and a Bridge Called Haiti
It must have been around 1995, and I had just witnessed an energetic performance by the Brooklyn-based Haitian roots music ensemble Dja-Rara at a show produced by the Caribbean Cultural Center in a large Manhattan theater space. Dja-Rara’s main dancer had particularly captivated me:.
Talking Drums: Soca and Go-Go Music as Grassroots Identity Movements
Soca music is a fast-paced derivative of calypso. Its name is derived from Lord Shorty’s self-described mission to ‹nd the soul of calypso.1 It was created in the 1970s by the calypsonian Garfield Blackman, better known as Lord Shorty or the Father of Soca, who began.
Warriors of the Word: Rapso in Trinidad’s Festival Culture
Rapso, de power of de word in de riddim1 of de word, is a genre of lyrically oriented rhythmic performance and music from Trinidad. It is deeply rooted in the traditions of oral culture and resistance associated with Caival, Trinidad and Tobago’s pre-Lenten festival.
Timba Brava: Maroon Music in Cuba
Nowadays all acknowledge the boom of Cuban popular dance music that occurred at the opening of the 1990s and maintained itself until the closing of that decade.1 During that period, the musical practices, instrumentation, treatments of traditional themes, and all-new thematic content based on emergent realities—in short, the sound that was bo.
Salsa Memory: Revisiting Grupo Folkl?rico y Experimental Nuevayorquino
Eddie Palmieri makes it a point these days to remind us that La Perfecta II is not meant to be a revival band. Rather than reviving, he thinks of this present-day remake of his groundbreaking band from the early 1960s, Conjunto La Perfecta, as revisiting an earlier concept and context. Instead of just a rerun of an older phenomenon, revisiting is a more creative,.
Epilogue: Performing Memories—The Atlantic Theater of Cultural Production and Exchange
Rhythms of the Afro-Atlantic World emerges out of a conference, Rhythms of the Atlantic World: Rituals and Remembrances, held at the University of Michigan in the spring of 2005. Conference participants explored the ways the peoples of the Atlantic tued to music, dance, and religious rituals to express their experiences of crossing and recrossing that.
Contributors
Index