POPULARITY
Frances R. Aparicio was Professor of Spanish and Portuguese and Director of the Latina and Latino Studies Program at Northwestern University. She has previously taught at Stanford University, University of Arizona, University of Michigan, and University of Illinois at Chicago. Her research interests include Latina and Latino literary and cultural studies, the cultural politics of U.S. Latino/a languages, Latino/a popular music and dance, literary and cultural translation, cultural hybridity, transnationalism, Latinidad, and mixed Latino/a identities. She is author of the award-winning Listening to Salsa: Gender, Latin Popular Music and Puerto Rican Cultures (Wesleyan 1998), and co-editor of various critical anthologies, including Tropicalizations: Transcultural Representations of Latinidad (University of New England Press, 1997), Musical Migrations (Palgrave, 2003), and Hibridismos culturales (Revista Iberoamericana, 2006). A founding editor of the Latinos in Chicago and the Midwest Book Series at the University of Illinois Press, she has facilitated and fostered book publications and new research on Latino/as in the Midwest. She is currently co-editor of the forthcoming Routledge Companion to Latino/a Literatures (with Suzanne Bost) and is also writing on "intralatino/a subjects," individuals who are of two or more national Latin American origins. In this episode, Dr. Aparicio discusses her new work "Aguanile: Critical Listening, Mourning and Anticolonial Healing"
In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Listening for Africa: Freedom, Modernity, and the Logic of Black Music’s African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field’s prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices
In Listening for Africa: Freedom, Modernity, and the Logic of Black Music's African Origins (Duke University Press, 2017), David García reminds us that how culture is understood and interpreted not only reflects the political and social discourses of the day, but also shapes those discussions. Drawing on figures as diverse as academics like Melville Herskovitz, performers such as Duke Ellington, and those like dancer/anthropologist Katherine Dunham who filled multiple roles, García lays bare the ways that people in the Americas from the 1930s until the 1950s understood the African origins of black music and dance. He is particularly interested in how the discourse about African retentions in black diasporic culture intensified cultural, political, and social dichotomies: primal vs. civilized, science vs. magic, black vs. white, and most importantly, modernity vs. primitivity. García argues these concepts were defined in terms of each other through the discourse he analyzes, with the politically dominant groups reinforcing positive connotations with the ideas they identified with themselves. Proceeding in broadly chronological order, García begins with a critique of the intellectual foundations of the discipline that we now call ethnomusicology and explores how the approaches taken to African retentions in black music and dance by some of the field's prominent figures were fundamentally influenced by scientific principles and Freudian psychology. Moving from academia to performance, García expands his argument by considering the rhetoric around black music and dance in the United States, the Caribbean, and Mexico as well as analyzing individual works and performances by Katherine Dunham, Asadata Dafora, Modupe Paris, Duke Ellington, and others. The book ends with a close reading of the cultural and political implications of the mambo, which was a transnational dance phenomenon in the early 1950s. Listening for Africa provides a dense, theoretically rigorous accounting of how the forces that shaped the production and analysis of black music and dance in the mid twentieth century also reinforced political and cultural oppression. David F. García is an Associate Professor in Ethnomusicology at the University of North Carolina at Chapel Hill. His research on black and Latin music in the United States has been published in MUSICultures, Journal of the Society for American Music and other journals. His first monograph, Arsenio Rodríguez and the Transnational Flows of Latin Popular Music received a Certificate of Merit from the Association for Recorded Sound Collections. He was awarded a National Endowment for the Humanities fellowship in 2014 and is also a Visiting Scholar at the Cristobal Díaz Ayala Collection of Cuban and Latin American Popular Music by the Cuban Research Institute at Florida International University. Kristen M. Turner, Ph.D. is a lecturer at North Carolina State University in the music department. Her work centers on American musical culture at the turn of the twentieth century and has been published in several journals and essay collections. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
Daybert Linares Diaz is a contributor to LDC and recently published a post entitled "CUBAN MUSIC: TO BE OR NOT TO BE PLAYED FOR SALSA DANCERS?". Today on the podcast, we are speaking with Daybert about this post and elaborating on the current lack of Cuban music in the salsa scene and why this music should be reintroduced at socials and congresses. Daybert is a Ph.D. student of contemporary Latin American Literature with a focus on the Caribbean at the University of Maryland, College Park. Born and raised in Cuba, Daybert has taught Cuban dance in the United States for over five years now, having held workshops in cities such as Atlanta, Boston, Baltimore, New York, and Washington, D.C. He is also the editor of "Son y Casino," the only blog dedicated to both the Cuban dance of casino and son music, which he updates regularly with informative pieces which deal with this small part of Cuban culture. Some Resources From Today's Show: Sublette, Ned. Cuba and Its Music: From the First Drums to Mambo Waxer, Lise. Situating Salsa: Global Markets and Local Meanings in Latin Popular Music. A useful Cuban music blog Some artists to check out: Arsenio Rodríguez, Ignacio Piñeiro, Félix Chappottín, Cheo Marquetti, Sonora Matancera, Conjunto Casino, Conjunto Universal, Conjunto Rumbavana, Estrellas de Chocolate, Miguelito Cuní, Senén Suárez, Pacho Alonso, Roberto Faz. Remember to subscribe to the podcast in iTunes and Stitcher…and leave us a 5-star! --- Send in a voice message: https://anchor.fm/thisweekinsalsa/message
© 2020-2025 Ivy Podcast Discovery LLC
