Nationalizing Blackness uses the music of the 1920s and 1930s to examine Cuban society as it begins to embrace Afrocuban culture. Moore examines the public debate over “degenerate Africanisms” associated with comparas or carnival bands; similar controversies associated with son music; the history of blackface theater shows; the rise of afrocubanismo in the context of anti-imperialist nationalism and revolution against Gerardo Machado; the history of cabaret rumba; an overview of poetry, painting, and music inspired by Afrocuban street culture; and reactions of the black Cuban middle classes to afrocubanismo. He has collected numerous illustrations of early twentieth-century performers in Havana, many included in this book.
Nationalizing Blackness represents one of the first politicized studies of twentieth-century culture in Cuba. It demonstrates how music can function as the center of racial and cultural conflict during the formation of a national identity.
Carl Degler’s 1971 Pulitzer-Prize-winning study of comparative slavery in Brazil and the United States is reissued in the Wisconsin paperback edition, making it accessible for all students of American and Latin American history and sociology.
Until Degler’s groundbreaking work, scholars were puzzled by the differing courses of slavery and race relations in the two countries. Brazil never developed a system of rigid segregation, such as appeared in the United States, and blacks in Brazil were able to gain economically and retain far more of their African culture. Rejecting the theory of Giberto Freyre and Frank Tannenbaum—that Brazilian slavery was more humane—Degler instead points to a combination of demographic, economic, and cultural factors as the real reason for the differences.
“In the early 1970s when studies in social history were beginning to blossom on the North American scene, Carl Degler’s prize-winning contribution was a thoughtful provocative essay in comparative history. Its thoughtfulness has not diminished with the years. Indeed, it is as topical today as when it was first published. The Brazilian experience with rapid industrialization and its attempt to restore democratic government indicates that the issues which Degler treated in the early 1970s are more pertinent than ever today.”—Franklin W. Knight, Department of History, Johns Hopkins University.
There are two common ways of writing about Africa, says Célestin Monga. One way blames Africa’s ills on the continent’s history of exploitation and oppression. The other way blames Africans themselves for failing to rise above poisonous national prejudices and resentments. But patronizing caricatures that reduce Africans to either victims or slackers do not get us very far in understanding the complexities and paradoxes of Africa today.
A searching, often searing, meditation on ways of living in modern Africa, Nihilism and Negritude dispels the stereotypes that cloud how outsiders view the continent—and how Africans sometimes view themselves. In the role of a traveler-philosopher, Monga seeks to register “the picturesque absurdity of daily life” in his native Cameroon and across the continent. Whether navigating the chaotic choreography of street traffic or discoursing on the philosophy of café menus, he illuminates the patterns of reasoning behind everyday behaviors and offers new interpretations of what some observers have misunderstood as Africans’ resigned acceptance of suffering and violence.
Monga does not wish to revive Negritude, the once-influential movement that sought to identify and celebrate allegedly unique African values. Rather, he seeks to show how daily life and thought—witnessed in dance and music, sensual pleasure and bodily experience, faith and mourning—reflect a form of nihilism developed to cope with chaos, poverty, and oppression. This is not the nihilism of despair, Monga insists, but the determination to find meaning and even joy in a life that would otherwise seem absurd.
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