| Kommentar |
Fernando Ortiz coined the word "transculturation" and introduced it into anthropology in his landmark 1940 book, Cuban Counterpoint: Tobacco and Sugar, for which Malinowski wrote the introduction; one could therefore say that Ortiz’s numerous works on Afro-Cuban music constitute the beginning of transcultural music studies. Beginning with Ortiz in Cuba and continuing up to 21st-century postcolonial interventions, this course considers how Caribbean musical sounds and anthropological thought have transformed music, dance, and music studies around the world. Lectures draw on Dr. Hutchinson’s own field and archival research to explore big topics including contact, exploitation, escape, extraction, movement, and postcolonial transformations and to consider genres from sarabande to salsa. Students will be invited to engage with five hundred years of Caribbean sounds, movements, and ideas through listening, dancing, and reading texts in Caribbean and transcultural music studies. Through this process, we will be forced to confront and reconsider European imaginings of the Caribbean and their continuing impact on the ways we hear and think about the world. |
| Literatur |
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Aparicio, Frances and Susana Chávez-Silverman, eds. 1997. Tropicalizations: Transcultural representations of Latinidad. University Press of New England.
Benítez-Rojo, Antonio. 1995. “The polyrhythmic paradigm: The Caribbean and the postmodern era.” Race, discourse, and the origin of the Americas: A New World view, eds. Vera Lawrence-Hyatt & Rex Nettleford. Smithsonian Institution Press.
Benítez-Rojo, Antonio. 1996. The repeating island: The Caribbean and the postmodern perspective, 2nd ed. Duke University Press.
Bennett, Andy. 2001. Cultures of popular music. Berkshire, UK: Open University Press.
García, David. 2009. “Embodying music / disciplining dance: The mambo body in Havana and New York City.” In Ballroom, boogie, shimmy sham, shake: A social and popular dance reader, ed. Julie Malnig, pp. 165-181. Urbana: University of Illinois Press.
Gilroy, Paul. 1995. The Black Atlantic: Modernity and double consciousness. Harvard University Press.
Hutchinson, Sydney. 2019. Focus: Music of the Caribbean. New York: Routledge
Savigliano, Marta E. 1995. Tango and the political economy of passion. Boulder, Colo.: Westview Press.
McMains, Juliet. 2015. Spinning mambo into salsa: Caribbean dance in global commerce. Oxford University Press.
Niranjana, Tejaswini. 2006. Mobilizing India: Women, music, and migration between India and Trinidad. Duke University Press.
Ortiz, Fernando. 1947. Cuban counterpoint: Tobacco and Sugar. Trans. Harriet de Onís. New York: Alfred A. Knopf.
Peña Ovalle, Priscilla. 2011. Dance and the Hollywood Latina: Race, sex, and stardom. New Brunswick: Rutgers University Press.
Rivera, Raquel Z. et al, eds. 2010. Reggaeton. Durham: Duke University Press.
Roberts, John Storm. 1999. The Latin tinge: The impact of Latin American music on the United States, 2nd ed. New York: Oxford University Press.
Savigliano, Marta E. 1995. Tango and the political economy of passion. Boulder, Colo.: Westview Press.
Shain, Richard M. 2002. “Roots in reverse: Cubanismo in twentieth century Senegalese Music.” International Journal of African Historical Studies 35(1):83-101.
Washburne, Christopher. 1997. “The clave of jazz: A Caribbean contribution to the rhythmic foundation of an African-American music.” Black Music Research Journal 17(1): 59-80.
White, Bob. 2002. “Congolese rumba and other cosmopolitanisms.” Cahiers d’études africaines 168:663-686. |
