Добірка наукової літератури з теми "Afro -Cuban culture"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Afro -Cuban culture".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Afro -Cuban culture"
1
Benson, Devyn Spence. "Redefining Mestizaje: How Trans-Caribbean Exchanges Solidified Black Consciousness in Cuba." Small Axe: A Caribbean Journal of Criticism 25, no. 2 (July 1, 2021): 91–108. http://dx.doi.org/10.1215/07990537-9384286.
Повний текст джерелаАнотація:
This essay recovers the history of 1960s and 1970s black movements in Cuba through an examination of works by Afro-Cuban intellectuals and their meetings with Caribbean thinkers to show the coexistence of mestizaje and black consciousness as a defining, but overlooked, feature of black activism in Cuba. While the existing literature locates black consciousness in the English- and French-speaking Caribbean, this essay highlights how Afro-Cubans in Spanish-speaking countries were not only aware of but also adapted Caribbean ideologies to local circumstances. Using oral histories, cultural productions, and meetings between Caribbean intellectuals, this examination of Afro-Cuban activism reframes the period leading up to Nancy Morejón’s 1982 Nación y mestizaje en Nicolás Guillén to show that the poet was one of many artists-activists who resurrected black history, revalued African culture and black identity, and promoted Caribbean black consciousness in Cuba despite state attempts at censorship. For Morejón that meant offering a definition of mestizaje that goes through and coexists with black consciousness.
2
García Yero, Cary Aileen. "To Whom It Belongs: The Aftermaths of Afrocubanismo and the Power over Lo Negro in Cuban Arts, 1938–1958." Latin American Research Review 57, no. 1 (March 2022): 1–18. http://dx.doi.org/10.1017/lar.2022.1.
Повний текст джерелаАнотація:
AbstractThis article explores the impact of Afrocubanismo on the development of Cuba’s arts during the 1940s and 1950s. The article follows the discursive output of artists, intellectuals, and cultural policymakers of different racial backgrounds over the deployment of lo negro to construct cubanidad. It argues that, if the 1920s and 1930s experienced a movement towards the construction of a homogeneous mestizo Cuba, the following decades reveal an effort by some artists to desyncretize lo cubano. While some intellectuals constructed notions of authenticity that circumscribed black art to black artists, many white Cuban artists in turn embraced elite Hispanic heritage as their main creative language while valorizing some Afro-Cuban artists’ recreations of lo negro. The article also demonstrates that the scholarly debates about cultural appropriation in recent decades have a long history within the Afro-Cuban community. It shows how Afro-Cuban artists and intellectuals pioneered arguments about the exploitative use of lo negro to make national art and the central role of culture in shaping racial inequality.
3
Cunha, Olívia M. G. "Travel, Ethnography, and Nation in the Writings of Rómulo Lachatañéré and Arthur Ramos." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 3-4 (January 1, 2007): 219–57. http://dx.doi.org/10.1163/22134360-90002482.
Повний текст джерелаАнотація:
Analyses how the traveling to and residence in the US of Arthur Ramos from Brazil and Rómulo Lachtañéré from Cuba, between 1939 and 1952, influenced their (anthropological) writings on Afro-American cultures and religions, specifically with regard to the relation between nation and race. Author describes that while Ramos and Lachatañéré went to the US under differing conditions, in the case of Lachatañéré in exile, and had dissimilar intellectual and political perspectives, their writings during and after their stay revealed identical approaches to interpreting the relation between nation and race in respectively Brazil and Cuba. She describes how Ramos and Lachatañéré developed a broader perspective on Afro-American culture, whilst moving in the same intellectual, anthropological circles, including contacts with Melville Herskovits and Fernando Ortiz, in the US. Author relates how both compared between African-Americans, in Louisiana in the case of Ramos and in New York in the case of Lachatañéré, and Afro-Brazilians and Afro-Cubans (including Caribbean migrants in the US), and thus between different race relations in the US, Brazilian, and Cuban contexts.
4
Cunha, Olívia M. G. "Travel, Ethnography, and Nation in the Writings of Rómulo Lachatañéré and Arthur Ramos." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 3-4 (January 1, 2008): 219–57. http://dx.doi.org/10.1163/13822373-90002482.
Повний текст джерелаАнотація:
Analyses how the traveling to and residence in the US of Arthur Ramos from Brazil and Rómulo Lachtañéré from Cuba, between 1939 and 1952, influenced their (anthropological) writings on Afro-American cultures and religions, specifically with regard to the relation between nation and race. Author describes that while Ramos and Lachatañéré went to the US under differing conditions, in the case of Lachatañéré in exile, and had dissimilar intellectual and political perspectives, their writings during and after their stay revealed identical approaches to interpreting the relation between nation and race in respectively Brazil and Cuba. She describes how Ramos and Lachatañéré developed a broader perspective on Afro-American culture, whilst moving in the same intellectual, anthropological circles, including contacts with Melville Herskovits and Fernando Ortiz, in the US. Author relates how both compared between African-Americans, in Louisiana in the case of Ramos and in New York in the case of Lachatañéré, and Afro-Brazilians and Afro-Cubans (including Caribbean migrants in the US), and thus between different race relations in the US, Brazilian, and Cuban contexts.
5
Fuente, Alejandro de la. "Recent Works on Afro-Cuban Culture." Latin American and Caribbean Ethnic Studies 3, no. 1 (March 2008): 109–19. http://dx.doi.org/10.1080/17442220701865895.
Повний текст джерела
6
Román, Reinaldo. "Governing Man-Gods: Spiritism and the Struggle for Progress in Republican Cuba." Journal of Religion in Africa 37, no. 2 (2007): 212–41. http://dx.doi.org/10.1163/157006607x184834.
Повний текст джерелаАнотація:
AbstractThis article explores the contrasting careers of two Spiritist healers, one Spanish-born and the other Afro-Cuban. It suggests that the prosecution of the black man-god (Hilario Mustelier) and the public celebration of the ministry of the Spaniard (Juan Manso) attest to the consolidation of a political rationality burgeoning in Cuba at the turn of the twentieth century. Under this regime, government officials and journalists sought to alter the conditions that gave rise to 'fanaticism' to promote the modernization of the nascent republic. Following a discussion of the notions of race and culture underpinning Cuban discourses of progress, the article offers a critique of the scholarly literature dealing with Afro-Cuban religions and syncretism.
7
Martin Demers, Stephane. "Recreating Collective Memories of Africa in the Afro-Caribbean Diaspora." Caribbean Quilt 6, no. 1 (February 4, 2022): 90–96. http://dx.doi.org/10.33137/cq.v6i1.36932.
Повний текст джерелаАнотація:
Forced to succumb to a life of enslavement, African-turned-Afro-Caribbean slaves devel- oped a collective image of their beloved homeland and forged an unbreakable chain of solidarity among their many ethnicities. The collective recreation of Africa as manifest in the imagination of Afro-Caribbean slaves through the practice of Cuban Santería and Haitian Vodou in sixteenth- to eigh- teenth-century Cuba and Haiti catalyzed their resistance to European subjugation. In partic- ular, these recreated cultural memories served as a foundation for the enslaved to subvert the dominant culture and resist enslavement. Syncretism fails to properly acknowledge the Afro-Caribbean slaves’ efforts in challenging the imperial regime and the role these efforts played in maintaining their African roots. The tumultuous yet hopeful history through which Cuban Santería and Haitian Vodou evolved reveals that the African spirit continuously takes on new forms but never dies.
8
WIRTZ, KRISTINA. ":Afro-Cuban Theology: Religion, Race, Culture, and Identity." American Anthropologist 109, no. 3 (September 2007): 558–59. http://dx.doi.org/10.1525/aa.2007.109.3.558.
Повний текст джерела
9
Vernooij, Joop. "Afro-Cuban theology. Religion, Race, Culture, and Identity." Exchange 37, no. 1 (2008): 96–97. http://dx.doi.org/10.1163/157254308x251403.
Повний текст джерела
10
Martínez-Fernández, Luis. "Afro-Cuban Theology: Religion, Race, Culture, and Identity." Hispanic American Historical Review 88, no. 3 (August 1, 2008): 506–7. http://dx.doi.org/10.1215/00182168-2008-339.
Повний текст джерелаДисертації з теми "Afro -Cuban culture"
1
Kocur, Zoya. "Art collectives, Afro-Cuban culture, and alternative cultural production, 1975-2010 : the performative interventions of OMNI Zona Franca and the struggle for space in the Cuban public sphere." Thesis, Middlesex University, 2013. http://eprints.mdx.ac.uk/11051/.
Повний текст джерелаАнотація:
This study presents an analysis of the appropriation of public space by cultural producers in Cuba, with a focus on art collectives, in particular, OMNI Zona Franca from Alamar, east of Havana. Based on primary research conducted with the artists, cultural producers, and scholars, I discuss OMNI’s work in the context of the history and formation of a nascent movement for civil society in Cuba, locating the collective’s work within the matrix of alternative and African diasporic cultural production. The latter is framed as part of a historical continuum and in the context of the discussion of race that emerged in Cuba’s public sphere during the 1990s with a concurrent movement among black Cuban artists to address issues of race. Situating OMNI’s work in a longer history of Afro-Cuban cultural production in Cuba as well as within the history of art collectives this study demonstrates how OMNI’s participation in the public sphere relates to social practice, appropriation of space, alternativity, and the forging of a wide coalition of civil and artistic alternatives among diverse communities. I draw on discourses on the production of space, particularly those of Henri Lefebvre and Raymond Williams, and argue that the unique and specific history of Alamar provided a fertile ground for alternative culture where multiple and countercultural expressions could be incubated and take root. The struggle over public space and the attempts by artists to create an autonomous public sphere in Cuba have led to continual conflict with the state. Using Gramsci’s theorization of civil society as incorporating both the hegemonic and contestatory realms, I contend that the level of contestation in OMNI Zona Franca’s work should be seen as counter-hegemonic expression aimed at altering the status quo. Producing new social relations, the collective’s practice is offered as an example of how art and cultural production is inaugurating alternative counter-spaces in the context of a demand for a more inclusive and representative Revolutionary public sphere.
2
Redon, Klemia. "Héritage afro-cubain : Entre identité culturelle et représentation folklorique donnée à voir aux touristes (1992-2021)." Electronic Thesis or Diss., Université Grenoble Alpes, 2024. http://www.theses.fr/2024GRALL008.
Повний текст джерелаАнотація:
Chargé d’une histoire aussi complexe que riche, Cuba s’est converti en quelques années en une destination prisée pour la beauté de ses paysages, de ses plages mais aussi de la chaleur et de la convivialité qui se dégagent de ses habitants.Après une crise économique sans précédent qui frappe Cuba à partir du début des années 1990 appelée « el Periodo Especial en tiempo de paz », le gouvernement de Fidel Castro décide de développer une politique touristique visant à favoriser l’économie mise à mal par l’arrêt du soutien financier de l’Union Soviétique. Le « crocodile » de la Caraïbe, lieu stratégique entre une Europe coloniale et l’Amérique, longtemps aux mains des Espagnols, puis des Anglais ; n’a cessé de voir s’opérer de nombreux processus de transculturation, d’acculturation tout au long de son histoire, bouleversant ainsi bon nombre de codes socio-culturels donnant lieu à cette identité culturelle cubaine si singulière.À partir des années 1960, et fort de cette diversité culturelle, le gouvernement de Fidel Castro dissociant les manifestations culturelles populaires et le folklore, s’est emparé de l’héritage culturel traditionnel des esclaves, tout en l’adaptant et le profanisant. Cette volonté de mettre en avant la culture afro-cubaine s’est accentuée dans les années 1990 avec l’arrivée du tourisme à Cuba. La multiplication des complexes hôteliers, la diversification des propositions touristiques, et la volonté de faire entrer des devises sur le territoire, ont accentué le phénomène de marchandisation du folklore.Alors entre stratégies politiques, folklore et préservation d’un patrimoine immatériel, qu’est-il donné à voir et à comprendre de la cubanía aux touristes de passage sur l’île ?With an history as complex as rich, Cuba has in just a few years become a popular destination for the beauty of its landscapes and beaches, as well as the warmth and friendliness of its people.Following an unprecedented economic crisis that hit Cuba in the early 90s, known as "el Periodo Especial en tiempo de paz", Fidel Castro's government decided to develop a tourism policy designed to boost the economy, which had been badly hit by the end of financial support from the Soviet Union.The "crocodile" of the Caribbean, a strategic location between colonial Europe and America, for a long time in the hands of the Spanish and then the British, has constantly undergone a process of transculturation and acculturation throughout its history, overturning many of the socio-cultural codes that have given rise to Cuba's unique cultural identity.From the 60s onwards, on the strength of this cultural diversity, Fidel Castro's government, which dissociated popular cultural events from folklore, took over the traditional cultural heritage of the slaves, adapting and profaning it at the same time.This desire to highlight Afro-Cuban culture was accentuated in the 90s with the arrival of tourism in Cuba. The proliferation of hotel complexes, the diversification of tourist attractions and the desire to bring foreign currency into the country have accentuated this trend?
3
Ramos, Miguel. "Lucumí (Yoruba) Culture in Cuba: A Reevaluation (1830S -1940s)." FIU Digital Commons, 2013. http://digitalcommons.fiu.edu/etd/966.
Повний текст джерелаАнотація:
The status, roles, and interactions of three dominant African ethnic groups and their descendants in Cuba significantly influenced the island’s cubanidad (national identity): the Lucumís (Yoruba), the Congos (Bantú speakers from Central West Africa), and the Carabalís (from the region of Calabar). These three groups, enslaved on the island, coexisted, each group confronting obstacles that threatened their way of life and cultural identities. Through covert resistance, cultural appropriation, and accommodation, all three, but especially the Lucumís, laid deep roots in the nineteenth century that came to fruition in the twentieth.
During the early 1900s, Cuba confronted numerous pressures, internal and external. Under the pretense of a quest for national identity and modernity, Afro-Cubans and African cultures and religion came under political, social, and intellectual attack. Race was an undeniable element in these conflicts. While all three groups were oppressed equally, only the Lucumís fought back, contesting accusations of backwardness, human sacrifice, cannibalism, and brujería (witchcraft), exaggerated by the sensationalistic media, often with the police’s and legal system’s complicity. Unlike the covert character of earlier epochs’ responses to oppression, in the twentieth century Lucumí resistance was overt and outspoken, publically refuting the accusations levied against African religions.
Although these struggles had unintended consequences for the Lucumís, they gave birth to cubanidad’s African component. With the help of Fernando Ortiz, the Lucumí were situated at the pinnacle of a hierarchical pyramid, stratifying African religious complexes based on civilizational advancement, but at a costly price. Social ascent denigrated Lucumí religion to the status of folklore, depriving it of its status as a bona fide religious complex. To the present, Lucumí religious descendants, in Cuba and, after 1959, in many other areas of the world, are still contesting this contradiction in terms: an elevated downgrade.
4
Ayorinde, Christine Renata. "Afro-Cuban religiosity, revolution and national identity (cubanidad/cubania)." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368423.
Повний текст джерела
5
Sá, Edmilson Siqueira de. "O mundo de ponta cabeça : negros em festa na capitania de Goiás e em Cuba." reponame:Repositório Institucional da UnB, 2006. http://repositorio.unb.br/handle/10482/4618.
Повний текст джерелаАнотація:
Dissertação (mestrado)—Universidade de Brasília, Departamento de História, 2006.Submitted by Érika Rayanne Carvalho (carvalho.erika@ymail.com) on 2010-05-14T00:53:32Z No. of bitstreams: 1 2006_Edmilson Siqueira de Sá.pdf: 785818 bytes, checksum: 613bd76dc93df3083da00976936399c6 (MD5)
Approved for entry into archive by Lucila Saraiva(lucilasaraiva1@gmail.com) on 2010-05-14T03:16:19Z (GMT) No. of bitstreams: 1 2006_Edmilson Siqueira de Sá.pdf: 785818 bytes, checksum: 613bd76dc93df3083da00976936399c6 (MD5)
Made available in DSpace on 2010-05-14T03:16:19Z (GMT). No. of bitstreams: 1 2006_Edmilson Siqueira de Sá.pdf: 785818 bytes, checksum: 613bd76dc93df3083da00976936399c6 (MD5) Previous issue date: 2006-09-21
Cada passo deste trabalho de mestrado marca um esforço no sentido de pensar a identidade cultural nos marcos da formação de duas identidades nacionais, evitando as armadilhas de uma história regional pouco interessada pelas dinâmicas externas a ela. Procuramos contribuir com uma reflexão contemporânea acerca da participação do negro no processo dessas identidades nacionais, apresentando situações brasileiras e cubanas numa perspectiva informada pelas teorias pós-coloniais. Tratamos de, na medida do possível, demonstrar certos conjuntos de similaridades e diferenças brasileiras e cubanas. Perseguindo a trajetória dos negros em festa no Brasil e em Cuba, este estudo procura observar mais especialmente a Capitania de Goiás e a região do Oriente, no período que abrange o final do século XVIII e século XIX. Traz elementos importantes - embora não suficientes - para uma comparação dos efeitos do processo de criação de uma identidade negra sobre o próprio movimento de constituição das respectivas identidades nacionais. _______________________________________________________________________________________ ABSTRACT
Each stage of this research is an effort towards thinking about cultural identity as a milestone concerning the development of two national identities, avoiding traps and/or tricks presented by a regional history with little interest on external dynamics. This is an attempt to contribute with a contemporary discussion about African descendants participation in the process of such national identities, comparing Brazilian to Cuban situations under a post colonial theory view. We tried to compare, whenever possible, certain sets of both similarities and differences regarding Brazilian and Cuban ones, seldom presented in comparative perspective. Covering black festivities in Brazil and in Cuba, this study mainly focuses on “Capitania de Goiás” and the Eastern region, in the period from late 18th and 19th centuries. It reveals important elements- although not enough- for a comparison of the effects of the process of creation of black identity about the movement towards developing respective national identities.
6
Rojo, Sergio. "Discriminación racial: Discurso oficial versus realidad en Cuba postrevolucionaria." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7224.
Повний текст джерелаАнотація:
El objetivo de esta investigación es buscar y analizar las causas que han mantenido la discriminación racial dentro de Cuba después de 1959. En mi investigación pretendo examinar cómo la Revolución Cubana no eliminó la continuidad histórica de discriminación racial heredada del pasado. En mi análisis quiero verificar cómo el estereotipo y la imagen política del afrocubano que ha sido formada tras los cambios sociales ocurridos después del 1959, no es más que el resultado de una falacia política montada en nombre de la igualdad.
Muchas de las políticas adoptadas por el estado se hicieron en pos de eliminar la mayoría de los vestigios y rasgos de la discriminación, pero la principal estrategia radicó en manipular la memoria histórica de los afrocubanos haciendo alusión al periodo esclavista para crear un compromiso partidista. En realidad, se camufló el verdadero objetivo de estas políticas. Si bien se borraron las leyes discriminatorias del sistema jurídico, no ocurrió de la misma manera del pensamiento de los individuos ya que muchas políticas adoptadas a través de los años, contribuyeron a su persistencia.
Otro aspecto importante es hacer referencia a la emigración de la población blanca y el impacto económico de este proceso en la constitución racial de la población de la isla. La diferencia de los niveles de vida entre blancos y afrocubanos después de casi sesenta años arroja índices de desigualdad y ratifica que la discriminación se ha identificado bajo las nuevas demandas políticas.
Paralelamente, la lucha por la igualdad racial en la revolución se convirtió en agenda alternativa al sistema segregacionista que caracterizaba a los Estados Unidos a finales en la década de los cincuenta, pero aunque esta competencia le trajo cambios positivos a los afrocubanos, al tomar un nuevo tipo de identidad, hizo diferencias.
La nueva sociedad cubana ofrecía oportunidades a cambio de lealtad. En la actualidad, los cubanos de cualquier raza son caracterizados por su fidelidad para el gobierno, el color de la raza cubana es por afiliación política y no por la pigmentación de la piel.
En mi tesis quiero demostrar que el mito existente detrás del igualitarismo no es más que una primitiva propaganda que perdura desde la época de la era de la Guerra Fría. Citando a autores como Fernando Ortiz, Manuel Moreno Fraginals, Carlos Mesa-Lago, Mark Sawyer, entre otros, analizaré los diferentes espacios sociales de los afrocubanos para demostrar que ellos siguen siendo el sector más quebrantado de la sociedad. El lector encontrará libros muy fundamentales en cuanto a la raza cubana, pero también encontrará citas de periódicos, páginas de la internet, y otros medios, que ayudan a incorporar un pensamiento inmediato y actual que se mueve en los medios de comunicación que demuestre que el racismo solo se puede combatir dentro de una sociedad civil en discusión y no por decretos, haciéndolo un asunto social, no cultural ni político.
7
Paes, Gabriela Segarra Martins. "A \'recomendação das almas\' na comunidade remanescente de Quilombo de Pedro Cubas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-01122009-160957/.
Повний текст джерелаАнотація:
A região entrecortada pelos rios Pilões, Nhunguara, Sapatu e Pedro Cubas era a mais rica zona de mineração de Eldorado (São Paulo), e o local para onde foram levados os primeiros escravizados que aportaram na região. Com a decadência da mineração, no final do século XVIII, muitos escravizados foram abandonados ou alforriados, transformando-se em camponeses, autônomos do ponto de vista econômico e religioso. O poder religioso era independente do clero oficial e concentrava-se nas mãos de leigos. Dessa forma, desenvolveu-se um catolicismo popular marcadamente diferente do catolicismo romano e repleto de influências africanas, e a Recomendação das Almas era uma de suas práticas. Porém, a partir dos anos 50 do século XX, o modo de vida tradicional dos negros da região, caracterizado pela autonomia, começou a sofrer fortes abalos devido às mudanças provocadas pelo corte ilegal do palmito, pela construção da estrada, pela implantação de unidades de conservação e pela ameaça da construção de barragens ao longo do Rio Ribeira de Iguape. Paralelamente, as práticas típicas do catolicismo popular entraram em declínio, e a Recomendação das Almas continuou a ser realizada apenas na região de Pedro Cubas. No entanto, as comunidades negras da região mobilizaram-se conjuntamente contra as adversidades e se auto-identificaram como membros de comunidades remanescentes de quilombo, e originaram as seguintes comunidades remanescentes de quilombo na região: Pedro Cubas, Pedro Cubas de Cima, Sapatu, Nhunguara, São Pedro, Galvão, Ivaporunduva, André Lopes, Pilões e Maria Rosa. Dessa forma, lutam contra as barragens, pelo direito de cultivar a terra e pela titulação de seu território.The region between the rivers Pilões and Pedro Cubas had the richest gold mines of Eldorado (Sao Paulo), and it was there that were introduced the first slaves in the region. After the decline of the mining cycle, at the end of the XVIIIth century, many slaves were let by themselves or alforriados, and became peasants, with great autonomy concerning their economic and religious life. The local religious life was practically independent of the official clergy, and was administered by lay people. In this way, the local communities developed a popular Catholicism quite different from the Roman Catholicism, full of African influence, and the Recomendação das Almas was one of its practices. However, since the 1950s the traditional way of life of the black people of the region, characterized by the autonomy, begun to suffer impact caused by changes the illegal palm heart extraction, by the construction of the road, by the implantation of the conservation unities and by the threat of the dam constructions along the Ribeira River. At the same time, many practices of the popular Catholicism declined and the Recomendação das Almas continues to be realized only in the region of Pedro Cubas. Nevertheless, the black communities of the region organized themselves against adversities and recognized themselves as a former quilombo, and originated the communities of Pedro Cubas, Pedro Cubas de Cima, Sapatu, Nhunguara, São Pedro, Galvão, Ivaporunduva, André Lopes, Pilões and Maria Rosa. In this way, they fight against the dam, for the right of planting and for the land property of their territory.
8
Kerestetzi, Katerina. "Vivre avec les morts : réinvention, transmission et légitimation des pratiques du palo monte (Cuba)." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100179.
Повний текст джерелаАнотація:
Cette thèse a pour objet le palo monte, culte initiatique d’origine bantoue que l’on pratique aujourd’hui sur tout le territoire cubain. Ses adeptes, les paleros, se lient rituellement à certains esprits des morts, les nfumbis, afin de bénéficier de leurs pouvoirs extraordinaires. Religion peu prescriptive, le palo monte laisse à ses adeptes une grande latitude en matière d’innovation rituelle et d’improvisation. En l’absence de corpus mythologique, de textes sacrés, de liturgie fixe et de toute autorité institutionnalisée, chaque groupe initiatique définit sa méthodologie religieuse de façon autonome. L’objectif de cette thèse est d’expliciter comment des pratiques religieuses se créent, se légitiment et se transmettent dans un contexte de variabilité extrême. Je porte d’abord une attention particulière à la matérialité du culte et tout particulièrement aux interactions quotidiennes entre les paleros et leur nganga, chaudron qui condense la présence du mort : objet-sujet omniscient, la nganga médiatise un réseau relationnel complexe qui permet l’émergence en continu des pratiques du palo monte. Je m’intéresse ensuite aux rites paleros en tant que performances au cours desquelles les prêtres forgent leur réputation en créant une sorte de cosmologie personnalisée. Tout en proposant une analyse interactionnelle de ces rituels, je montre comment certains aspects de la personnalité des adeptes interviennent dans la définition de la forme rituelle de chaque groupe. Enfin, je montre comment les actes réflexifs des paleros, omniprésents sous la forme de critiques, de justifications, de confrontations, etc. sont constitutifs de la transmission et du renouvellement des pratiquesThis thesis is on palo monte, a Cuban initiatory religion of Bantu origin, widespread over all Cuban territory. Its worshippers, the paleros, establish ritual bonds with determined spirits of the dead, called nfumbis, in order to receive their supernatural powers. Imposing a small number of prescriptions, palo monte enables its devotees to operate a wide range of ritual innovations and improvisations. Indeed, the inexistence of a mythological corpus, a sacred text or a strict liturgy, and more generally of any kind of institutionalized authority, allows every initiatory group to define its religious methodology in an autonomous way. The aim of this research is to explain how these religious practises are created, legitimized and transmitted in a context which allows for extreme variability. In this perspective, the analysis focuses primarily on palo monte’s materiality and more specifically to the daily interactions between the paleros and their nganga, a cauldron condensing the presence of a dead man. I argue that the nganga, as an omniscient object-subject, mediates a complex relational network and enables a constant reinvention of palo monte’s ritual practises. I focus thus on palero rituals as performances through which priests make a name for themselves by creating a kind of customized cosmology. By putting forward an interactional analysis of these/their rituals, I show how determined aspects of the adepts’ personalities intercede in the definition of each groups’ ritual patterns. Finally, I point out how paleros’ reflexive acts – in the form of pervasive critique, vindication, debates, etc. – are constitutive of their practices’ transmission and renewal
9
Amrhein, Saundra Marie. "Cuba's Chords of Change: Music, Race, Class & Motherhood at the turn of the 21st Century." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4277.
Повний текст джерелаАнотація:
This thesis is an ethnography and biographical study that examines the impact of the immense socioeconomic changes underway in Cuba at the turn of the 21st century and the flexible identity categories through which individuals navigate a social crisis.
The biography and ethnography in this thesis are centered on the life of Violeta Aldama, an aging revolutionary and Afro-Cuban mother who struggles to make ends meet while fighting to steer her son, Brian, through a classical music education and into a music career. Amid growing racial inequalities when many Afro-Cubans are locked out of the most lucrative jobs in the new tourism sector and less likely to have family abroad sending remittances, the booming dance music industry offers the greatest promise for advancement and wealth than possibly any other profession. With the retraction of the state in a growing market economy, Violeta must scramble to build new networks of support while also coming to terms with the idea that the system she fought for all of her life will no longer be able to sustain her son.
This study argues that individuals navigate through social crises through identity categories that are both socially constructed and subjectively fluid. In the process, they rely on these identity categories to build new contacts for support while also finding in them meaning and agency. I frame this thesis around three broad identity categories - race, class and national identity. The study also shows how Violeta in turn experienced these categories - as well as motherhood and her revolutionary roles - and the ways that she used them to build networks of support.
The thesis is guided by the theory on lo informal developed by scholar Damián Fernández: the split in individuals between ideals and passionate beliefs versus life on the black market to help loved ones survive.
The study's methodology draws from feminist ethnography, examining not only Violeta's position in society as an Afro-Cuban woman and aging revolutionary, but also my relationship with her and her son as a white, middle-class American researcher during a time when relationships with foreigners became a crucial means of social advancement.
This research bridges academic areas of study regarding Cuba's growing racial inequalities and the rising economic power of the music industry. It also contributes to the academic canon on social movements by highlighting roles of individuals - not just the state or opposition alliances - as social actors.
10
Brunson, Takkara Keosha. "Constructing Afro-Cuban womanhood : race, gender, and citizenship in Republican-era Cuba, 1902-1958." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4213.
Повний текст джерелаАнотація:
This dissertation explores continuities and transformations in the construction of Afro-Cuban womanhood in Cuba between 1902 and 1958. A dynamic and evolving process, the construction of Afro-Cuban womanhood encompassed the formal and informal practices that multiple individuals—from lawmakers and professionals to intellectuals and activists to workers and their families—established and challenged through public debates and personal interactions in order to negotiate evolving systems of power. The dissertation argues that Afro-Cuban women were integral to the formation of a modern Cuban identity. Studies of pre-revolutionary Cuba dichotomize race and gender in their analyses of citizenship and national identity formation. As such, they devote insufficient attention to the role of Afro-Cuban women in engendering social transformations. The dissertation’s chapters—on patriarchal discourses of racial progress, photographic representations, la mujer negra (the black woman), and feminist, communist, and labor movements—probe how patriarchy and assumptions of black racial inferiority simultaneously informed discourses of citizenship within a society that sought to project itself as a white masculine nation. Additionally, the dissertation examines how Afro-Cuban women’s writings and social activism shaped legal reforms, perceptions of cubanidad (Cuban identity), and Afro-Cuban community formation. The study utilizes a variety of sources: organizational records, letters from women to politicians, photographic representations, periodicals, literature, and labor and education statistics. Engaging the fields of Latin American history, African diaspora studies, gender studies, and visual culture studies, the dissertation maintains that an intersectional analysis of race, gender, and nation is integral to developing a nuanced understanding of the pre-revolutionary era.text
Книги з теми "Afro -Cuban culture"
1
1943-, Pérez Sarduy Pedro, and Stubbs Jean 1946-, eds. Afro-Cuban voices: On race and identity in contemporary Cuba. Gainesville: University Press of Florida, 2000.
Знайти повний текст джерела
2
Rodríguez-Mangual, Edna M. Lydia Cabrera and the construction of an Afro-Cuban cultural identity. Chapel Hill: University of North Carolina Press, 2004.
Знайти повний текст джерела
3
Garoutte, Claire. Crossing the water: A photographic path to the Afro-Cuban spirit world. Durham, NC: Duke University Press, 2007.
Знайти повний текст джерела
4
(Editor), Judith Bettelheim, and Fernando Ortiz (Editor), eds. Cuban Festivals: A Century of Afro-Cuban Culture. Markus Wiener Publishers, 2001.
Знайти повний текст джерела
5
Bettelheim, Judith. Cuban Festivals: A Century of Afro-Cuban Culture. Ian Randle Publishers,Jamaica, 2001.
Знайти повний текст джерела
6
Gonzalez, Michelle A. Afro-Cuban Theology: Religion, Race, Culture, and Identity. University Press of Florida, 2009.
Знайти повний текст джерела
7
Afro-cuban Theology: Religion, Race, Culture, And Identity. University Press of Florida, 2006.
Знайти повний текст джерела
8
Fernando Ortiz on Music: Selected Writing on Afro-Cuban Culture. Temple University Press, 2018.
Знайти повний текст джерела
9
Fernando, Ortiz. Fernando Ortiz on music: Selected writing on Afro-Cuban culture. Temple University Press, 2018.
Знайти повний текст джерела
10
Arnedo-Gómez, Miguel. Uniting Blacks in a Raceless Nation: Blackness, Afro-Cuban Culture, and Mestizaje in the Prose and Poetry of Nicolás Guillén. Bucknell University Press, 2019.
Знайти повний текст джерелаЧастини книг з теми "Afro -Cuban culture"
1
Annecchiarico, Milena. "Culture, Race, and Nation in Afro-Cuban Studies." In Routledge Handbook of Afro-Latin American Studies, 457–67. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003159247-47.
Повний текст джерела
2
Richardson, Jill Toliver. "Memory and the Afro-Cuban Missing Link in H.G. Carrillo’s Loosing My Espanish." In The Afro-Latin@ Experience in Contemporary American Literature and Culture, 121–42. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-31921-6_6.
Повний текст джерела
3
Tisdel, Michelle A. "From House-Temples to Museum Showcase: Afro-Cuban Religions, Heritage and Cultural Policy in Cuba." In Cultural Contestation, 105–37. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91914-0_6.
Повний текст джерела
4
Anaya, Elizabeth. "“Salsa con Afro”: Remembering and Reenacting Afro-Cuban Roots in the Global Cuban and Latin Dance Communities." In Cultural Memory and Popular Dance, 39–60. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71083-5_3.
Повний текст джерела
5
Presas, Alex. "Afro-Cuban Religions in Cuban Literature." In The Oxford Handbook of Caribbean Religions, 394–408. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190916961.013.28.
Повний текст джерелаАнотація:
Abstract This chapter cites the influence of archival oralities of culture in correlation with Afro-Cuban religions featured in Cuban literature. It starts with a short overview of Manga-Mocha: cuento ñáñigo, representing Afro-Cuban themes in Spanish Caribbean literature. Even though the publication of Manga-Mocha was over a century ago, its thematic representation of Afro-Cuban religions has expanded into the portrayal of a strong communal identity in Cuban literature and culture. The conformation of a more diverse Cuban culture began with the gradual integration of Afro-Cuban values into the island’s sociopolitics during the second half of the nineteenth century. Moreover, Cuban ethnographer Fernando Ortiz’s sense of intermeshed transmutations also resulted in a complex system in which Afro-Cuban religions influenced the poetic and fictional representation of Cuban writers.
6
Wilks, Jennifer M. "“The Queen of Havana”." In Carmen in Diaspora, 186–210. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197566145.003.0006.
Повний текст джерелаАнотація:
Abstract Drawing on performance ethnography, cultural history, and critical reception, Chapter 5 examines how the musical play Carmen la Cubana—conceived by British director Christopher Renshaw and written by Renshaw, Cuban playwright Norge Espinosa Mendoza, and British dramatist Stephen Clark—adapts Prosper Mérimée, Georges Bizet, and Oscar Hammerstein while celebrating Cuban culture and contending with its racial entanglements. From the outset, the musical reverses the cultural hierarchies of its French predecessors, with Afro-Caribbean music and spirituality taking center stage and European-identified culture assuming a supporting role. The story aligns Carmen’s destiny with that of Cuban revolutionary heroes Fidel Castro and Che Guevara and grounds the character in Afro-Cuban culture. In contrast with previous versions, the character’s embrace of love and defiance is represented as central to a large-scale political project rather than disruptive to it. Carmen la Cubana’s reign as the queen of Havana is nonetheless abbreviated, however. This familiar outcome can be traced not only to the legacy of the Carmen myth but also to the history of race in Cuba, particularly the practice of negotiating desire and freedom through the bodies and culture of people of color. Just as the nineteenth-century Spain of Mérimée’s imagination cannot accommodate the persistent refusal of an outspoken Romani woman, so, it would seem, Carmen la Cubana ultimately becomes expendable when she resists subsuming her life within the larger political project of Cuban statehood.
7
Anderson-GonzÁlez, Maya. "Race, Gender, and Sexuality in Cuban Digital Culture." In Afro-Latinx Digital Connections, 65–83. University Press of Florida, 2021. http://dx.doi.org/10.5744/florida/9781683402046.003.0005.
Повний текст джерелаАнотація:
Dr. Anderson-González studies the Afro-Cuban blogosphere as a way to identify how discourses of race, gender and sexuality shape the discussion and appropriation of digital tools in the island. The article also discusses how the digital should not be understood as a separated world from existing cultural structures, but, on the contrary, it must be seen as an added layer of culture. It is in the digital Cuban culture where the article showcases that structural inequalities continue to exist and, some cases, are magnified by the power of the digital, even in context where the lack of access to the internet becomes another marker of difference.
8
ANDERSON-GONZÁLEZ, MAYA. "Race, Gender, and Sexuality in Cuban Digital Culture." In Afro-Latinx Digital Connections, 65–83. University of Florida Press, 2021. http://dx.doi.org/10.2307/j.ctv1mvw8mk.8.
Повний текст джерела
9
"“Vigía es Elegguá”." In Handmade in Cuba, edited by Kristin Schwain, 77–95. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401520.003.0007.
Повний текст джерелаАнотація:
In a 2007 issue of Ediciones Vigía’s magazine for young people, Barquitos del San Juan, Rolando Estévez Jordán pays homage to Elegua, one of the most important orishas in the transcultural religious system of Santería. Through visual and cultural analyses of the journal, this chapter shows how Vigía became an Elegua within Cuban culture. Ediciones Vigía opened doors between Cuban national identity and Afro-Cuban culture, a contentious but interdependent pairing that has animated Cuban life since the liberation wars in the second half of the nineteenth century.
10
Silverman, Carol. "Artful Politics of the Voice." In Social Voices, 139–60. University of Illinois Press, 2023. http://dx.doi.org/10.5622/illinois/9780252045240.003.0008.
Повний текст джерелаАнотація:
This chapter shows how the stories and careers of three Afro-Cuban women singers—Graciela Pérez Grillo (1915–2010), Celia Cruz (1925–2003), and Lupe Victoria Yolí (1936–1992)—reflect gender and racial solidarity and shared expressions of Afro-Cuban womanhood, while at the same time highlighting the constraints of the entertainment industry with its racialized and gendered expectations, as well as the complex relationships between the singers and with the men in their lives. The chapter addresses a gender gap in the history of Cuban and Latin popular music, allowing “Cuban women performers to speak not from the margins . . . but from the center of the narrative as innovators, pioneers, and agents shaping the popular culture landscape on which they formed their professional careers.”
Тези доповідей конференцій з теми "Afro -Cuban culture"
1
Flores García, Daniel, Hugo Flores García, and Matteo Riondato. "ClaveNet: Generating Afro-Cuban Drum Patterns through Data Augmentation." In AM '24: Audio Mostly 2024 - Explorations in Sonic Cultures, 355–61. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3678299.3678335.
Повний текст джерела
2
Vitiuc, Alexandr. "The contribution of the bass guitar video cources to modern music education." In Conferința științifică internațională "Învăţământul artistic – dimensiuni culturale". Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2022. http://dx.doi.org/10.55383/iadc2022.14.
Повний текст джерелаАнотація:
This article is dedicated to the characteristic features of modern teaching to play the bass guitar, which is based on the study of video schools. The author considers the most representative publications for the bass guitar, focused on the practical use of the instrument in modern music. Particular attention is paid to the basics of playing the bass guitar, playing scales and arpeggios, slapping and tapping techniques, as well as to the study of Afro-Cuban styles.