moshe morad fiesta de diez pesos music and gay identity in special period cuba pdf Monday, March 22, 2021 4:45:56 PM

Moshe Morad Fiesta De Diez Pesos Music And Gay Identity In Special Period Cuba Pdf

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While researching musical genres and events as a space for identity among gay men in Cuba during the period of austerity known as the Special Period, I came across the role of sentimental and nostalgic Bolero music as an emotional and psychological space. Gay, homosexuality, queer, Cuba, bolero, music, emotional space.

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Fiesta de Diez Pesos Music and Gay Identity in Special Period Cuba

Burlington, VT: Ashgate. ISBN: The book is divided into three sections: one describing the gay scene in Cuba; another dealing with music in the secret, liminal fiestas de diez pesos ; and the third dealing with the specificities of performativity in the scene overall. Though a major goal of his project is to expand the field of queer studies beyond the Western context, his primary focus is on the similarities between the ambiente and gay scenes elsewhere rather than on their differences. While this endeavor is laudable, at times it causes a disconnect between the ethnographic and analytical work done in the text. For example, Morad begins with a historical account of the shifting landscape of gay culture in Cuba, discussing the transition from plural gay sexualities of the nineteenth century to the adoption of an inter national gay culture.

Moshe Morad. Fiesta de diez pesos: Music and Gay Identity in Special Period Cuba

Hilder uib. The global impact of Cuban music and dance is immense. Yet ethnomusicologists have been slow to bestow the subject its due attention. Consequently, what we have here is an important study of transcultural synthesis. Through several cross-cultural comparisons, Morad intersects genre, gender and geography to evince the physical, conceptual and emotional states of gay and trans Cubans. However, what became secondary in his thesis are the inherent principles of, say, el regalo qua ayuda [gift as a form of help] and la lucha [struggle], both of which have more discursive potential from an anthropological perspective. Firstly, the phrase with the exception of the word afeminado is not used on or claimed by the informants, whose sexual activities are made known neither to Morad nor his readers.

Hilder uib. The global impact of Cuban music and dance is immense. Yet ethnomusicologists have been slow to bestow the subject its due attention. Consequently, what we have here is an important study of transcultural synthesis. Through several cross-cultural comparisons, Morad intersects genre, gender and geography to evince the physical, conceptual and emotional states of gay and trans Cubans.

The 'Special Period' in Cuba was an extended era of economic depression starting in the early s, characterized by the collapse of revolutionary values and social norms, and a way of life conducted by improvised solutions for survival, including hustling and sex-work. During this time there developed a thriving, though constantly harassed and destabilized, clandestine gay scene known as the 'ambiente'. In the course of eight visits between and , the last dozen years of Fidel Castro's reign, Moshe Morad became absorbed in Havana's gay scene, where he created a wide social network, attended numerous secret gatherings-from clandestine parties to religious rituals-and observed patterns of behavior and communication. He discovered the role of music in this scene as a marker of identity, a source of queer codifications and identifications, a medium of interaction, an outlet for emotion and a way to escape from a reality of scarcity, oppression and despair. Morad identified and conducted his research in different types of 'musical space,' from illegal clandestine parties held in changing locations, to ballet halls, drag-show bars, private living-rooms and kitchens and santera religious ceremonies. In this important study, the first on the subject, he argues that music plays a central role in providing the physical, emotional, and conceptual spaces which constitute this scene and in the formation of a new hybrid 'gay identity' in Special-Period Cuba. Markedets laveste priser.


About the Book “Fiesta de diez pesos: Music and Gay Identity in Special Period Cuba”, by Moshe Morad () The 'Special Period' in Cuba was an extended.


Latin American Music Review

 - Чертовское везение, если говорить честно.  - Он, казалось, все еще продолжал сомневаться в том, что Хейл оказался вовлечен в планы Танкадо.  - Я полагаю, Хейл держит этот пароль, глубоко запрятав его в компьютере, а дома, возможно, хранит копию. Так или иначе, он попал в западню. - Тогда почему бы не вызвать службу безопасности, которая могла бы его задержать.

Между пальцами и на кольце Танкадо была кровь. У него закружилась голова. Увидев выгравированные знаки, Беккер страшно удивился.

Fiesta de diez pesos: Music and Gay Identity in Special Period Cuba - E-bog

Book info: Fiesta de diez pesos: Music and Gay Identity in Special Period Cuba

Все внезапно осложнилось, пошло совсем не так, как он рассчитывал. Мелкая любезность, которую он оказал Стратмору, забрав личные вещи Танкадо, вылилась в поиски таинственного кольца, как в известной игре, где нужно находить спрятанные предметы. Дэвид только что позвонил Стратмору и рассказал о немецком туристе. Новость не обрадовала коммандера. Выслушав подробности, он долго молчал. Дэвид, - сказал наконец Стратмор мрачным голосом, - обнаружение этого кольца - вопрос национальной безопасности.

 - Количество букв всегда составляло совершенный квадрат. - Готово! - крикнула Соши. Все посмотрели на вновь организованный текст, выстроенный в горизонтальную линию. - По-прежнему чепуха, - с отвращением скривился Джабба.  - Смотрите.

Беккер попробовал его обойти, но парень ему не позволил. - Я сказал тебе - подними. Одуревшие от наркотиков панки за соседними столиками начали поворачивать головы в их сторону, привлеченные перепалкой. - Не советую тебе так себя вести, парень, - тихо сказал Беккер. - Я тебя предупредил! - кипятился панк.  - Это мой столик. Я прихожу сюда каждый вечер.

Latin American Music Review

Сьюзан пойдет со. А вы останетесь. - Мне неприятно тебе это говорить, - сказал Стратмор, - но лифт без электричества - это не лифт. - Вздор! - крикнул Хейл.  - Лифт подключен к энергоснабжению главного здания.

 Около двадцати минут. Их надо использовать с толком. Фонтейн долго молчал. Потом, тяжело вздохнув, скомандовал: - Хорошо.

Moshe Morad. Fiesta de diez pesos: Music and Gay Identity in Special Period Cuba

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Occesroveg 28.03.2021 at 14:58

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