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Flamenco and Transformations of the ...

Booker, Sheriden Martin.

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Flamenco and Transformations of the Cultural Public Sphere in Cuba: Race, Ethnicity, and the Performance of New Hierarchies of Difference, 1989-2009.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Flamenco and Transformations of the Cultural Public Sphere in Cuba: Race, Ethnicity, and the Performance of New Hierarchies of Difference, 1989-2009./
作者:	Booker, Sheriden Martin.
面頁冊數:	275 p.
附註:	Source: Dissertation Abstracts International, Volume: 73-12(E), Section: A.
Contained By:	Dissertation Abstracts International73-12A(E).
標題:	Anthropology, Cultural. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3525228
ISBN:	9781267575203

Flamenco and Transformations of the Cultural Public Sphere in Cuba: Race, Ethnicity, and the Performance of New Hierarchies of Difference, 1989-2009.
Booker, Sheriden Martin.

Flamenco and Transformations of the Cultural Public Sphere in Cuba: Race, Ethnicity, and the Performance of New Hierarchies of Difference, 1989-2009. - 275 p.

Source: Dissertation Abstracts International, Volume: 73-12(E), Section: A.

Thesis (Ph.D.)--Yale University, 2012.

Since the dismantling of the Eastern socialist bloc, scholars studying the effects of Cuba's new interface with global capitalism have increasingly turned to the field of cultural production as a critical site for examining the changing relationship between the state and society. In this dissertation, I contribute to this body of literature by exploring the relatively understudied flamenco dance movement as an example of a local cultural phenomenon whose foundation was laid within institutional spaces sanctioned and enabled by the state, yet whose development has been squarely situated within transnational and global fields of social power. Drawing on data collected through archival research, participant observation, and interviews with cultural workers in Cuba, as well as the theoretical diacritics of extant literature on cultural globalization, neoliberalism, the state, and performance, I argue that the logics of these processes require we nuance prevailing approaches to state-society relationships and the arts which have hitherto been premised on the idea that the raison d'etre of the public sphere is rational mediation between a sovereign state and its citizenry. For while greater space for cognitive political debate has been granted in the post-Soviet context, a great deal of political negotiation still occurs on an affective level through the circulation of cultural symbols and the performance of cultural repertoires that are not overtly political. In addition, while the state has retained an integral role within the field of cultural production, global market developments, new forms of associative life, and multiple legal regimes have simultaneously produced variegated forms of sovereignty and graduated cultural citizenship in the local context. The resulting cultural publics harnesses quasi-democratic potentials in that they catalyze critical interventions of state power and ideology. Yet they also serve as domains through which groups orchestrate and perform new hierarchies of difference in relationship to state power and to other social formations. Through a segmented analysis of the flamenco movement, I advance a theory of how globalization processes have challenged the underpinnings of the socialist cultural public sphere, giving way to multiple counterpublics of difference.

ISBN: 9781267575203Subjects--Topical Terms:

735016
Anthropology, Cultural.

Flamenco and Transformations of the Cultural Public Sphere in Cuba: Race, Ethnicity, and the Performance of New Hierarchies of Difference, 1989-2009.
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520 $a Since the dismantling of the Eastern socialist bloc, scholars studying the effects of Cuba's new interface with global capitalism have increasingly turned to the field of cultural production as a critical site for examining the changing relationship between the state and society. In this dissertation, I contribute to this body of literature by exploring the relatively understudied flamenco dance movement as an example of a local cultural phenomenon whose foundation was laid within institutional spaces sanctioned and enabled by the state, yet whose development has been squarely situated within transnational and global fields of social power. Drawing on data collected through archival research, participant observation, and interviews with cultural workers in Cuba, as well as the theoretical diacritics of extant literature on cultural globalization, neoliberalism, the state, and performance, I argue that the logics of these processes require we nuance prevailing approaches to state-society relationships and the arts which have hitherto been premised on the idea that the raison d'etre of the public sphere is rational mediation between a sovereign state and its citizenry. For while greater space for cognitive political debate has been granted in the post-Soviet context, a great deal of political negotiation still occurs on an affective level through the circulation of cultural symbols and the performance of cultural repertoires that are not overtly political. In addition, while the state has retained an integral role within the field of cultural production, global market developments, new forms of associative life, and multiple legal regimes have simultaneously produced variegated forms of sovereignty and graduated cultural citizenship in the local context. The resulting cultural publics harnesses quasi-democratic potentials in that they catalyze critical interventions of state power and ideology. Yet they also serve as domains through which groups orchestrate and perform new hierarchies of difference in relationship to state power and to other social formations. Through a segmented analysis of the flamenco movement, I advance a theory of how globalization processes have challenged the underpinnings of the socialist cultural public sphere, giving way to multiple counterpublics of difference.
520 $a Threaded throughout my analysis of transformations of the cultural public sphere is an examination of how the flamenco dance movement has been depicted as a heretical whitening of Cuban national culture. I correlate this with how Cubans have variously experienced the above-mentioned hierarchies of difference in racialized terms. In charting this, I pull out the contradictory ways in which embodied racial meanings are appropriated and deployed in relationship to various institutional and social processes, all of which complexly-constitute race as a cynosure of performance-based counterpublics. I argue that this must necessarily inform the way we conceptualize the racial subaltern in future studies of Cuban cultural production.
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