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The Garland Handbook Of Latin American Music

The Garland Handbook Of Latin American Music. Part Three: Nations and Musical Traditions, Caribbean Latin America, Haiti. Cultural Heritage. Indigenous Ciboney Ta í no European French (1697) African Like Cuba, contemporary Haitian culture greatly informed by African heritage

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The Garland Handbook Of Latin American Music

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  1. The Garland Handbook Of Latin American Music Part Three: Nations and Musical Traditions, Caribbean Latin America, Haiti

  2. Cultural Heritage • Indigenous • Ciboney • Taíno • European • French (1697) • African • Like Cuba, contemporary Haitian culture greatly informed by African heritage • Long history of black resistance • Ideological and political dimension to negritude (“blackness”) movement

  3. Genres • Vodou • Neo-African religion • Similar to Afro-Cuban Santeria • Shares roots in West African beliefs and musical traditions • Incorporates elements of Christianity • i.e., juxtaposition of loas and Catholic saints • Involves possession of devotees • Structures and induces possession through music and dance • Incorporates similar instruments • Organizes music and ensemble around similar principles • Historically linked with social and political ideologies/movements • Negritude and black resistance

  4. Genres (cont.) • Secular and folkloric genres of African derivation • Konbit • Refers to collective-labor association and to event it organizes • Emphasizes music as “propelling force” • Involves collaboration of work force in music-making • (Or of musicians in work effort?) • Origins (parallels) in West Africa • Rara • Seasonal rural ritual • Both secular and sacred • Connected to issues of life and death • Context for processional bands (Bann Rara) • Instrumentation, musical structure, relation of parts, and structure and organization of ensembles reflect African influences

  5. Genres (cont.) • Urban popular music • Development • Circumscribed by social and economic issues • Commercial genres • Draw on Haitian traditions • i.e., mereng-vodou, or vodou-jazz, • Incorporate influences from popular music outside Haiti (i.e., jazz, rock and roll, other Caribbean genres) • May engage social and political issues • Mizik Angaje • (note: compare with nueva trova in Cuba)

  6. Music and Social Dynamics in Haiti • Music and identity • Music plays significant role in mobilizing social identity, including ethnic (see Anthony Seeger, pp. 65-77) • Consider significance of Haitian Vodou and other secular traditional and popular genres of African derivation to black ethnic identity, national identity, and the ideology of negritude in Haiti • Possible questions for discussion • How might Haitian Vodou be considered a symbol for black ethnic identity and the ideologies of negritude? • How has the ideology of negritude influenced contemporary popular music in Haiti? • How might the conscious use and appropriation of such symbols by both politicians and musicians be potentially advantageous?

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