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Remixing Reggaetón

The Cultural Politics of Race in Puerto Rico
Petra R. Rivera-Rideau

   "An engaging intersectional exploration of reggaetón in the context of Puerto Rican racial politics, with a focus on how Afro-'diasporic resources' are deployed to counter the insidiousness of racial democracy discourses. Building upon ethnography, musical and performance analysis, and an expansive bibliography focused on racial politics, diasporic blackness, and popular culture, Remixing Reggaetón features a provocative exploration of Puerto Rican blackness(es) and the multiple ways they can be embodied, performed, perceived, and explained."—Raquel Z. Rivera, coeditor of Reggaetón

   Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaetón, Petra R. Rivera-Rideau shows how reggaetón musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego Calderón criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetón, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetón's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. Reggaetón, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

Petra R. Rivera-Rideau is Assistant Professor of Africana Studies at Virginia Tech.


Duke University Press
October 2015 240pp 11 illustrations 9780822359647 PB £16.99 now only £13.59* when you quote CSL1215CUB when you order
http://www.combinedacademic.co.uk/remixing-reggaetn



Negro Soy Yo

Hip Hop and Raced Citizenship in Neoliberal Cuba
Marc D. Perry

   "Offering a wealth of ethnographic detail, Negro Soy Yo is a welcome addition to the study of international hip-hop, contemporary Cuban culture and society, and the Black Atlantic. Marc D. Perry's foregrounding of the role of race in the history of Cuban hip-hop, and in the transnational engagements of Afro-Cuban culture more broadly, is a crucial contribution."—Wayne Marshall, coeditor of Reggaeton

   In Negro Soy Yo Marc D. Perry explores Cuba’s hip hop movement as a window into the racial complexities of the island’s ongoing transition from revolutionary socialism toward free-market capitalism. Centering on the music and lives of black-identified raperos (rappers), Perry examines the ways these young artists craft notions of black Cuban identity and racial citizenship, along with calls for racial justice, at the fraught confluence of growing Afro-Cuban marginalization and long held perceptions of Cuba as a non-racial nation. Situating hip hop within a long history of Cuban racial politics, Perry discusses the artistic and cultural exchanges between raperos and North American rappers and activists, and their relationships with older Afro-Cuban intellectuals and African American political exiles. He also examines critiques of Cuban patriarchy by female raperos, the competing rise of reggaetón, as well as state efforts to incorporate hip hop into its cultural institutions. At this pivotal moment of Cuban-U.S. relations, Perry's analysis illuminates the evolving dynamics of race, agency, and neoliberal transformation amid a Cuba in historic flux.

Marc D. Perry is Assistant Professor of Anthropology and African and African Diaspora Studies at Tulane University.


Duke University Press
December 2015 296pp 14 illustrations 9780822358855 PB £16.99 now only £13.59* when you quote CSL1215CUB when you order
http://www.combinedacademic.co.uk/negro-soy-yo



Cuban Underground Hip Hop

Black Thoughts, Black Revolution, Black Modernity
Tanya L. Saunders

   In the wake of the 1959 Cuban Revolution, a key state ideology developed: racism was a systemic cultural issue that ceased to exist after the Revolution, and any racism that did persist was a result of contained cases of individual prejudice perpetuated by US influence. Even after the state officially pronounced the end of racism within its borders, social inequalities tied to racism, sexism, and homophobia endured, and, during the economic liberalization of the 1990s, widespread economic disparities began to reemerge.

Cuban Underground Hip Hop focuses on a group of self-described antiracist, revolutionary youth who initiated a social movement (1996–2006) to educate and fight against these inequalities through the use of arts-based political activism intended to spur debate and enact social change. Their “revolution” was manifest in altering individual and collective consciousness by critiquing nearly all aspects of social and economic life tied to colonial legacies. Using over a decade of research and interviews with those directly involved, Tanya L. Saunders traces the history of the movement from its inception and the national and international debates that it spawned to the exodus of these activists/artists from Cuba and the creative vacuum they left behind. Shedding light on identity politics, race, sexuality, and gender in Cuba and the Americas, Cuban Underground Hip Hop is a valuable case study of a social movement that is a part of Cuba’s longer historical process of decolonization.


University of Texas Press
November 2015 390pp 43 b&w photos 9781477307700 PB £20.99 now only £16.79* when you quote CSL1215CUB when you order
http://www.combinedacademic.co.uk/cuban-underground-hip-hop



African Music, Power, and Being in Colonial Zimbabwe
Mhoze Chikowero

   "Whereas previous generations of scholars have argued how Africans adapted and revived musical traditions to resist colonialism in Zimbabwe, Mhoze Chiowero takes a longer view to demonstrate just how complicated and varying music history across Africa is during this era." —Tyler Fleming, University of Louisville

   In this new history of music in Zimbabwe, Mhoze Chikowero deftly uses African sources to interrogate the copious colonial archive, reading it as a confessional voice along and against the grain to write a complex history of music, colonialism, and African self-liberation. Chikowero's book begins in the 1890s with missionary crusades against African performative cultures and African students being inducted into mission bands, which contextualize the music of segregated urban and mining company dance halls in the 1930s, and he builds genealogies of the Chimurenga music later popularized by guerrilla artists like Dorothy Masuku, Zexie Manatsa, Thomas Mapfumo, and others in the 1970s. Chikowero shows how Africans deployed their music and indigenous knowledge systems to fight for their freedom from British colonial domination and to assert their cultural sovereignty.

Indiana University Press
African Expressive Cultures,Ethnomusicology Multimedia
November 2015 364pp 35 b&w illus. 9780253018038 Paperback £23.99 now only £19.19* when you quote CSL1215CUB when you order
http://www.combinedacademic.co.uk/Book/53473/African-Music,-Power,-and-Being-in-Colonial-Zimbabwe


Staging Ghana
Artistry and Nationalism in State Dance Ensembles
Paul Schauert

   "I have long thought that a book on the Ghana Dance Ensemble should be written. Paul Schauert's argument that nationalism becomes a resource in the performances of individual artists is strong and coherent." —Cati Coe, Rutgers University

"Paul Schauert's attention to the intricacies of individual motives for participation, the troupe's objectives in relationship to the nationalist project, and the role of economic reward add an important dimension to scholarly understanding of institutionalized music and dance practices in African countries." —Lisa Gilman, University of Oregon
   The Ghana Dance Ensemble takes Ghana’s national culture and interprets it in performance using authentic dance forms adapted for local or foreign audiences. Often, says Paul Schauert, the aims of the ensemble and the aims of the individual performers work in opposition. Schauert discusses the history of the dance troupe and its role in Ghana’s post-independence nation-building strategy and illustrates how the nation’s culture makes its way onto the stage. He argues that as dancers negotiate the terrain of what is or is not authentic, they also find ways to express their personal aspirations, discovering, within the framework of nationalism or collective identity, that there is considerable room to reform national ideals through individual virtuosity.

Indiana University Press
Ethnomusicology Multimedia
September 2015 364pp 18 b&w illus., 1 map, 22 video 9780253017420 Paperback £20.99 now only £16.79* when you quote CSL1215CUBwhen you order
http://www.combinedacademic.co.uk/staging-ghana








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