Los Gaiteros de San Jacinto
Thursday, February 10, 2011
A little polycentrism
Speaking of polycentrism, a little Cuban rumba, from an old Cuban documentary...
Afro-Cuba in New York, and the Muñequitos de Matanzas in Boston
Just so you know (and thank your classmate Johnny Bohórquez for reminding me) - there's going to be a gigantic festival of Cuban music this spring in New York. Details here. New York is a little far, but one group I would go down (on foot if necessary) to hear anyhow is the Muñequitos de Matanzas, founded 60 years ago, not in the States since 2002, and hands-down the most famous group playing traditional Afro-Cuban rumba music: guaguancó, yambú and columbia. Luckily, they'll also be in the Boston area March 30 and April 1. I'm going to try and cook up a way to get the class, or at least interested members of it, down there. In the meantime, check out this video from that last tour
Tuesday, February 8, 2011
Febrary 10 Assignment
The readings for Thursday's class are up on blackboard (link)
The required readings are:
• Dixon Gottschild, Brenda. “Crossroads, Continuities, and Contradictions. The Afro-Euro-Caribbean Triangle.” Caribbean dance from abakuá to zouk : how movement shapes identity, ed., Susanna Sloat (Gainesville Fla.: University Press of Florida, 2002), 3-20
• Birenbaum Quintero, Michael. “The Poetics of Sound in the Black Southern Pacific World.” Rites, Rights and Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific. (Manuscript), 9-24, 32-40
Note that you only need to read pages 9-24 and 32-40 in my piece. Please post as comments your answers to the following question:
How do the musical forms described in the Birenbaum Quintero piece exemplify some of the aspects described in the Dixon Gottschild piece? Which ones? How can musical practice in general be understood as inculcating ethical behaviors?
Also, I will be lecturing on music in Colombia, If you have a special interest, you might want to check out the suggested reading, also linked on Blackboard:
Suggested:
• Gerard Béhague, et al. "Colombia." Grove Music Online. Oxford Music Online. 8 Feb. 2011
II. 1 The Atlantic Coastal Region
II. 2. The Pacific Coastal Region
III. Popular Music
And, tangentially,
II. 3. The Andean region
The required readings are:
• Dixon Gottschild, Brenda. “Crossroads, Continuities, and Contradictions. The Afro-Euro-Caribbean Triangle.” Caribbean dance from abakuá to zouk : how movement shapes identity, ed., Susanna Sloat (Gainesville Fla.: University Press of Florida, 2002), 3-20
• Birenbaum Quintero, Michael. “The Poetics of Sound in the Black Southern Pacific World.” Rites, Rights and Rhythms: A Genealogy of Musical Meaning in Colombia’s Black Pacific. (Manuscript), 9-24, 32-40
Note that you only need to read pages 9-24 and 32-40 in my piece. Please post as comments your answers to the following question:
How do the musical forms described in the Birenbaum Quintero piece exemplify some of the aspects described in the Dixon Gottschild piece? Which ones? How can musical practice in general be understood as inculcating ethical behaviors?
Also, I will be lecturing on music in Colombia, If you have a special interest, you might want to check out the suggested reading, also linked on Blackboard:
Suggested:
• Gerard Béhague, et al. "Colombia." Grove Music Online. Oxford Music Online. 8 Feb. 2011
II. 1 The Atlantic Coastal Region
II. 2. The Pacific Coastal Region
III. Popular Music
And, tangentially,
II. 3. The Andean region
Thursday, February 3, 2011
Tuesday, February 1, 2011
Assignment: Thursday February 3
Please read the following:
Yelvington, Kevin A. "The Anthropology of Afro-Latin America and the Caribbean:Diasporic Dimensions." Annual Review of Anthropology 30 (2001) pp. 227-260
There is a link here:Yelvington, Kevin A. "The Anthropology of Afro-Latin America and the Caribbean:Diasporic Dimensions." Annual Review of Anthropology 30 (2001) pp. 227-260
http://www.annualreviews.org.ezproxy.bowdoin.edu/doi/pdf/10.1146/annurev.anthro.30.1.227
The question:
How could what Yelvington describes be related to the kinds of musical practices we've been discussing in class?
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