東華大學圖書館 |

Music-Making Practices of Cubans of Chinese and African Descent: Creating Alternative Ways of Being and Belonging = = Las Practicas Musicales de Cubanos de Descendencia China y Africana: Creando Maneras Alternativas de Ser y Pertencer .

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Music-Making Practices of Cubans of Chinese and African Descent: Creating Alternative Ways of Being and Belonging =/
其他題名:	Las Practicas Musicales de Cubanos de Descendencia China y Africana: Creando Maneras Alternativas de Ser y Pertencer .
作者:	Porras, Edwin.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2020,
面頁冊數:	441 p.
附註:	Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
Contained By:	Dissertations Abstracts International82-05A.
標題:	Ethnic studies. -
電子資源:	https://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=28154641
ISBN:	9798691228360

Music-Making Practices of Cubans of Chinese and African Descent: Creating Alternative Ways of Being and Belonging = = Las Practicas Musicales de Cubanos de Descendencia China y Africana: Creando Maneras Alternativas de Ser y Pertencer .
Porras, Edwin.

Music-Making Practices of Cubans of Chinese and African Descent: Creating Alternative Ways of Being and Belonging =Las Practicas Musicales de Cubanos de Descendencia China y Africana: Creando Maneras Alternativas de Ser y Pertencer . - Ann Arbor : ProQuest Dissertations & Theses, 2020 - 441 p.

Source: Dissertations Abstracts International, Volume: 82-05, Section: A.

Thesis (Ph.D.)--University of California, Los Angeles, 2020.

This item must not be sold to any third party vendors.

Based on extensive field and archival research conducted in Cuba and the United States, this dissertation explores two overlooked musical traditions practiced in Cuba, Chinese lion dancing in Havana and Afro-Cuban conga culture in Santiago. In it, I examine the activities of marginalized music makers in their aim to preserve and transmit their cultural practices. First, I re-tell the histories of both social groups from their arrival in Cuba to the present day and clarify the meaning of marginality in Cuba. After highlighting their cultural similitudes and intersections, I explore these actors' activities in and surrounding music making practices as they struggle to overcome the strictures of the highly regulated Cuban government. I find that political policies and strategies designed and implemented to rescue the Cuban state from failure-such as the creation of a dual monetary system and the adoption of tourism, an industry fiercely opposed by Castro at the beginning of his socialist regime-effectively and officially exclude the majority of Cubans from this extremely lucrative sphere of economic activity. However, opening the country to tourism has had unexpected consequences on the ground that the state cannot readily control. The encounter with foreign visitors who prefer to expand their exploratory horizons beyond the limits of traditional forms of tourism (e.g., the all-inclusive tourist package experience) has resulted in the adoption of values more commonly associated with capitalist attitudes. This is a process that started in the 1990s, when tourism was reinstated in Cuba. Today, marginalized music makers have developed an ethos that, without being for or against dominant narratives of identity (e.g., the meaning of being Cuban) and civic membership (e.g., the benefits of citizenship), expresses these fundamental transformations. Engaging with theories of value, I show that in the search for what is meaningful in life (e.g., cultural production and expression), these social actors embed their activities in and surrounding music making with their cosmopolitan worldviews, generating spaces of possibility. In these spaces, music makers are not only empowered to navigate the complexities and strictures of power in Cuba, but also to redefine what it means to be Cuban and how to inhabit such Cubanness.

ISBN: 9798691228360Subjects--Topical Terms:

1556779
Ethnic studies.
Subjects--Index Terms:

Conga music

Music-Making Practices of Cubans of Chinese and African Descent: Creating Alternative Ways of Being and Belonging = = Las Practicas Musicales de Cubanos de Descendencia China y Africana: Creando Maneras Alternativas de Ser y Pertencer .
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245 1 0 $a Music-Making Practices of Cubans of Chinese and African Descent: Creating Alternative Ways of Being and Belonging = $b Las Practicas Musicales de Cubanos de Descendencia China y Africana: Creando Maneras Alternativas de Ser y Pertencer .
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500 $a Source: Dissertations Abstracts International, Volume: 82-05, Section: A.
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506 $a This item must not be sold to any third party vendors.
520 $a Based on extensive field and archival research conducted in Cuba and the United States, this dissertation explores two overlooked musical traditions practiced in Cuba, Chinese lion dancing in Havana and Afro-Cuban conga culture in Santiago. In it, I examine the activities of marginalized music makers in their aim to preserve and transmit their cultural practices. First, I re-tell the histories of both social groups from their arrival in Cuba to the present day and clarify the meaning of marginality in Cuba. After highlighting their cultural similitudes and intersections, I explore these actors' activities in and surrounding music making practices as they struggle to overcome the strictures of the highly regulated Cuban government. I find that political policies and strategies designed and implemented to rescue the Cuban state from failure-such as the creation of a dual monetary system and the adoption of tourism, an industry fiercely opposed by Castro at the beginning of his socialist regime-effectively and officially exclude the majority of Cubans from this extremely lucrative sphere of economic activity. However, opening the country to tourism has had unexpected consequences on the ground that the state cannot readily control. The encounter with foreign visitors who prefer to expand their exploratory horizons beyond the limits of traditional forms of tourism (e.g., the all-inclusive tourist package experience) has resulted in the adoption of values more commonly associated with capitalist attitudes. This is a process that started in the 1990s, when tourism was reinstated in Cuba. Today, marginalized music makers have developed an ethos that, without being for or against dominant narratives of identity (e.g., the meaning of being Cuban) and civic membership (e.g., the benefits of citizenship), expresses these fundamental transformations. Engaging with theories of value, I show that in the search for what is meaningful in life (e.g., cultural production and expression), these social actors embed their activities in and surrounding music making with their cosmopolitan worldviews, generating spaces of possibility. In these spaces, music makers are not only empowered to navigate the complexities and strictures of power in Cuba, but also to redefine what it means to be Cuban and how to inhabit such Cubanness.
520 $a Basada en extensa investigacion de campo y archivo en Cuba y Estados Unidos, esta disertacion explora la practica del baile del leon Chino en La Habana y la conga Afro-Cubana en Santiago, dos tradiciones musicales en Cuba que necesitan mas atencion. En ella, examino los que haceres musicales de grupos marginales en su afan de preservar y transmitir sus practicas culturales. Para comenzar, re-cuento la historia de ambos grupos sociales, desde su llegada a Cuba hasta el presente y clarifico lo que significa ser marginal en Cuba. Seguidamente de realzar sus similitudes e intersecciones culturales, exploro las actividades musicales y extra-musicales de dichos actores en su lucha para superar las restricciones del altamente regulado gobierno Cubano. Mi investigacion indica que las politicas y estrategias gubernamentales puestas en pie para evitar el fracaso de la economia Cubana-como la creacion del sistema monetario dual y la adopcion del turismo, una industria repudiada por Castro al comienzo de su mandato socialista-excluyen eficazmente y de manera oficial a la mayoria de los Cubanos de esta lucrativa esfera de actividad economica. Sin embargo, la apertura de la industria turistica ha desatado consecuencias inesperadas que escapan el alcance de su control. El encuentro con visitantes extranjeros quienes prefieren expander sus experiencias mas alla de lo ofrecido por formulas tradicionales de turismo (paquetes turisticos con todo incluido) ha resultado en la adopcion de valores comunmente asociados con actitudes capitalistas. Un proceso que surge en los 1990s cuando la industria turistica fue restablecida en Cuba. Hoy en dia, el hacer musical de estos grupos marginados reflejan creencias y valores que sin estar a favor o en contra de narrativas identitarias dominates que dictan el "que" es ser Cubano y como habitar dicha cubanidad, expresan dichas transformaciones. Entrando en dialogo con teorias de valor, muestro que en la busqueda de lo que es importante en la vida (expresion y produccion cultural), estos grupos sociales inyectan sus actividades musicales y extra-musicales con puntos de vista cosmopolita, generando espacios de posibilidad. Es precisamente en estos espacios en donde estos actores pueden afectar la balanza del poder en Cuba para navegar sus desafios y son capaces de redefinir lo que significa ser Cubano y como habitar esa cubanidad.
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650 4 $a Recreation. $3 535376
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653 $a Conga music
653 $a Diaspora
653 $a Lion Dance
653 $a Power and agency
653 $a Value
653 $a Cuba
653 $a Socialist regime
653 $a Tourism
653 $a Foreign tourists
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710 2 $a University of California, Los Angeles. $b Ethnomusicology 0472. $3 3279682
773 0 $t Dissertations Abstracts International $g 82-05A.
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793 $a English
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