Dissertation•
Authentic Assertions, Commercial Concessions: Race, Nation, and Popular Culture in Cuban New York City and Miami, 1940-1960.
01 Jan 2012-
About: The article was published on 2012-01-01 and is currently open access. It has received 49 citations till now. The article focuses on the topics: Miami & Popular culture.
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TL;DR: In this paper, Imagined communities: Reflections on the origin and spread of nationalism are discussed. And the history of European ideas: Vol. 21, No. 5, pp. 721-722.
13,842 citations
TL;DR: In this article, the history of relationships within and between different groups in the United States, and the complexities of those relations are explored, including gender, sexuality, religion, nation, and class.
Abstract: MC 281 is the second in the required sophomore sequence for Social Relations and Policy. In this course, we will explore the interactions and experiences between and among various groups in American history. We will consider how Americans both defended and contested prevailing definitions of fitness for citizenship and inclusion in the political process and American life, and how groups sought to gain access to social and political equality. This course focuses on the history of relationships within and between different groups in the United States, and explores the complexities of those relations. Rarely centered solely on race or ethnicity, such interactions were also affected by gender, sexuality, religion, nation, and class. We will also explore the shifting definitions of race and ethnicity. Students will analyze not only the experiences of the different groups, but also the connections between them to assess the larger dynamics and their implications for public policy.
766 citations
TL;DR: Gross as mentioned in this paper argues that the modern plunderers are not anomalies but are the legitimate descendants of the financiers who organized Lowell and the Boott and turns a study of a defunct textile corporation into a condemnation of economic practices and theories that are widely accepted today and are inherent in the North American Free Trade Agreement.
Abstract: parative advantage. The work would also be stronger if the author could provide more detail as to how profitable the Boott was and where the profits were re-invested; Gross makes it clear that profits were not plowed back into the mill. It is probable that the figures are simply not available but, if they could be presented, they would make a strong case even more convincing. In his postscript Gross draws parallels between modern entrepreneurs, who are often criticized for \"being devoted to the production of profits, not of goods\" (p. 242), and the owners of the Boott. He argues that the modern \"plunderers\" are not anomalies but are the legitimate descendants of the financiers who organized Lowell and the Boott. In short, Gross turns a study of a defunct textile corporation into a condemnation of economic practices and theories that are widely accepted today and are inherent in the North American Free Trade Agreement. How his thesis will be received and incorporated into the interpretation of Lowell is an interesting question.
294 citations
TL;DR: In this article, the authors implicitly ask communication theorists and critics to read important poets and novelists, not just in the sense of reading more, but by reading more alertly, and they call us to glimpse connections across terrains of knowing, to build our own lessons from them, to confirm others' concrete presence even as we must stand up to them, and to recognize deeper and more organic links.
Abstract: brings rigorous and first-rate intellects into my life and dares me to be a better and more versatile reader. More specifically, these works implicitly ask communication theorists and critics to read important poets and novelists, not just in the sense of reading more, but by reading more alertly. They call us to glimpse connections across terrains of knowing, to build our own lessons from them, to confirm others’ concrete presence even as we must stand up to them, and to recognize deeper and more organic links. Moreover, consistent with a concrete philosophy of dialogue, they each ask readers to respond, despite the clutter and ill-formed meanings of our own lives. I look at my messy desk, and know I have time for that.
199 citations
TL;DR: Ferrer as discussed by the authors examines the role of black and mulatto Cubans in nationalist insurgency from 1868, when a slaveholder began the revolution by freeing his slaves, until the intervention of racially segregated American forces in 1898.
Abstract: In the late nineteenth century, in an age of ascendant racism and imperial expansion, there emerged in Cuba a movement that unified black, mulatto, and white men in an attack on Europe's oldest empire, with the goal of creating a nation explicitly defined as antiracist. This book tells the story of the thirty-year unfolding and undoing of that movement. Ada Ferrer examines the participation of black and mulatto Cubans in nationalist insurgency from 1868, when a slaveholder began the revolution by freeing his slaves, until the intervention of racially segregated American forces in 1898. In so doing, she uncovers the struggles over the boundaries of citizenship and nationality that their participation brought to the fore, and she shows that even as black participation helped sustain the movement ideologically and militarily, it simultaneously prompted accusations of race war and fed the forces of counterinsurgency. Carefully examining the tensions between racism and antiracism contained within Cuban nationalism, Ferrer paints a dynamic portrait of a movement built upon the coexistence of an ideology of racial fraternity and the persistence of presumptions of hierarchy. |Examines the tensions between racism and anti-racism in Cuba's struggle to become a nation between 1868 and 1898.
149 citations
References
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TL;DR: For most Caribbean immigrants in the United States, race and color have played a crucial role in the formation of their cultural identities as mentioned in this paper, which often do not coincide with the ideological constructions of the receiving societies.
Abstract: When people move across state borders, they enter not only a different labor market and political structure but also a new system of social stratification by class, race, ethnicity, and gender. Migrants bring their own cultural conceptions of their identity, which often do not coincide with the ideological constructions of the receiving societies. As a mulatto Dominican colleague told me recently, she "discovered" that she was black only when she first came to the United States; until then she had thought of herself as an india clara (literally, a light Indian) in a country whose aboriginal population was practically exterminated in the 16th century. For most Caribbean immigrants in the United States, race and color have played a crucial role in the formation of their cultural identities. Two different models of racial hegemony are juxtaposed in the process of moving from the Caribbean to the United States. On one hand, Caribbean migrantsespecially those coming from the Spanish-speaking countries of Cuba, the Dominican Republic, and Puerto Rico-tend to use three main racial categories-black, white, and mixed-based primarily on skin color and other physical characteristics such as facial features and hair texture (Seda Bonilla, 1980). On the other hand, the dominant system of racial classification in the
135 citations
Book•
18 Nov 1994
TL;DR: In this article, Sanchez Korrol's work traces the growth of the early Puerto Rican settlements -colonias' into the unique, vibrant, and well-defined community of today.
Abstract: First published in 1983, this book remains the only full-length study documenting the historical development of the Puerto Rican community in the United States. Expanded to bring it up to the present, Virginia Sanchez Korrol's work traces the growth of the early Puerto Rican settlements - 'colonias' - into the unique, vibrant, and well-defined community of today.
131 citations
01 Dec 2006
TL;DR: Guthrie Ramsey as discussed by the authors explored the relationship between music and African American identity and explored the ways that African Americans have identified themselves in music and used music to construct positive and flexible concepts of race.
Abstract: Guthrie Ramsey’s Race Music: Black Cultures from Bebop to Hip-Hop is a fascinating account of the relationship between music and African American identity. Surveying an array of black music styles – blues, bebop, rhythm and blues, soul music, gospel music, and hip hop in films – Ramsey explores ways that African Americans have identified themselves in music. He draws upon his experience as a jazz and gospel pianist and his family’s participation in the Great Migration to generate an ethnographic method positioning family narrative at the intersection of racial identity and musical expression. He is also concerned with the ways in which African Americans have used music to construct positive and flexible concepts of “race.” As Ramsey argues early in the book: “My use of the term race music intentionally seeks to recapture some of the historical ethnocentric energy that circulated in these styles, even as they appealed to many listeners throughout America and abroad. […] I use the word race […] not to embrace a naive position of racial essentialism, but as an attempt to convey the worldviews of cultural actors from a specific historical moment.” (3, original italics) Ramsey’s explanation of “race music” or, rather, raced music, resonates in interesting ways with the concept of “race records” that emerged in the young American recording industry in the 1920s. The success of Mamie Smith’s 1920 recording of “Crazy Blues” prompted early record labels to initiate marketing campaigns targeting African Americans, Italian Americans, Jewish Americans, and others as distinct markets with specific musical tastes connected to their racial and ethnic identities. This trend substantiated a form of racial essentialism in sounds; record company executives assumed a homology between race and music consumption. In reality, however, American listening habits traversed racial and ethnic boundaries, creating a series of musical intercultures (see Slobin; Stanyek) evidenced in listening habits during the so-called “Jazz Age” and “Swing Era” of the 1920s and 30s. During this period, African American music became America’s popular music. While this intercultural listening challenged the marketing of “race records,” assumptions about racial identity and musical meaning continued to structure the way African American music was portrayed in American popular culture. Race Music strategically reclaims the notion of “race” from the inside out, from an emic or insider’s view of black music and its relationship to African American culture. Ramsey’s race music (re)presents the creative strategies African Americans employed in crafting their own identities in sound and how those sounds circulate as symbols in a variety of social contexts. Like the New Negro discourse of the Harlem Renaissance and the concept of Black Art during the 1960s and ‘70s, Ramsey’s race music is about self-determination, about reclaiming the ability to define oneself in sound. Ramsey develops three historical frameworks for locating the articulation of music and identity: Afro-modernism in the 1940s, black nationalism and soul music in the 1960s, and the “post-industrial moment” of the 1990s. These three historical frames illustrate important moments in which new understandings about the relationship between racial and musical identity were conceived in African American culture. One moment focuses on musical experimentalism and ideas about “modernity” in the 1940s that led to the creation of bebop. Ramsey also demonstrates how critical
129 citations
Book•
30 Sep 1993TL;DR: The Invisible Crisis: Stability and Change in 1990s Cuba CONCLUSION BIBLIOGRAPHY INDEX as discussed by the authors is a collection of articles from the first edition of the First Edition.
Abstract: PREFACE PREFACE TO THE FIRST EDITION CONTENTS LIST OF TABLES LIST OF ACRONMYMS INTRODUCTION 1. Meidated Sovereignty, Monoculture, and Development 2. Politics and Society, 1902-1958 3. Revolution and Radical Nationalism, 1959-1961 4. Revolution and Inclusive Development 5. Politics and Society, 1961-1970 6. Politics and Society, 1971-1986 7. Revolution, Rectification, and Contemporary Socialism 8. The Invisible Crisis: Stability and Change in 1990s Cuba CONCLUSION BIBLIOGRAPHY INDEX
122 citations
Book•
13 Aug 1997
120 citations
"Authentic Assertions, Commercial Co..." refers background in this paper
...77 Jairo Moreno, “Bauzá-Gillespie-Latin/Jazz: Difference, Modernity, and the Black Caribbean,” South Atlantic Quarterly 103, no. 1 (2004): 84; Mario Bauzá, 8 February 1989, David Carp Collection; Mario Bauzá, 19 April 1989, Ruth Glasser/Puerto Rican Musicians Collection; Mario Bauzá, 18 April 1991, David Carp Collection....
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...Afro-Cuban percussionist Armando Peraza, for example, offered a less racially-defined or ethnic-specific understanding of musical innovation by 77 Jairo Moreno, “Bauzá-Gillespie-Latin/Jazz: Difference, Modernity, and the Black Caribbean,” South Atlantic Quarterly 103, no. 1 (2004): 84; Mario Bauzá, 8 February 1989, David Carp Collection; Mario Bauzá, 19 April 1989, Ruth Glasser/Puerto Rican Musicians Collection; Mario Bauzá, 18 April 1991, David Carp Collection....
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...85 Musicologist Jairo Moreno has focused specifically on Bauzá’s musical partnerships with African-American musicians, his mobility within the jazz community of Harlem, and his black racial identity....
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...Moreno, Jairo....
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