moshe morad fiesta de diez pesos music and gay identity in special period cuba pdf Monday, May 31, 2021 3:43:11 AM

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. Moshe Morad. Psychology Research, 5 10 , Acosta, L.

Latin American Music Review

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.

This is geared toward demonstrating the particularities of Cuban gay experience. His analyses of particular musical genres in the fiestas de diez pesos , however—particularly the queering of heteronormative genres like salsa, reggaeton, timba , and house music—rely on Western-derived theories about gender and sexuality.

If Cuba is really part of an international gay scene as Morad suggests, these may be the most appropriate theoretical tools; nonetheless, greater attention could be given to Cuban reception of these styles, since there is so much emphasis on Cuban modes of gayness in the first part of the book. Morad is also careful to point out the ethical difficulties of his project, particularly given the covert nature of the ambiente and the culture of jineterismo , or sex tourism, in Special Period Cuba.

Though elements of the precariousness of the scene appear throughout the book, it is not until the appendix that he describes how he dealt with these issues in his own work. This information is crucial to understanding the politics of his research, and it might easily be overlooked by readers, since it is not presented at the outset.

This is a much-needed area of study, and Morad does well to begin the debate. Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Built on the Johns Hopkins University Campus. This website uses cookies to ensure you get the best experience on our website.

Without cookies your experience may not be seamless. Institutional Login. LOG IN. Latin American Music Review. In lieu of an abstract, here is a brief excerpt of the content: Reviewed by:. Moshe Morad.

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Latin American Music Review

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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.

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. This is geared toward demonstrating the particularities of Cuban gay experience.

Book info: 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.

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.

В нашем распоряжении будет целых два дня. - Но я уже забронировала номер, обиженно сказала Сьюзан.  - Нашу старую комнату в Стоун-Мэнор. - Я понимаю, но… - Сегодня у нас особый день - мы собирались отметить шесть месяцев. Надеюсь, ты помнишь, что мы помолвлены.

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

Latin American Music Review

Убирайся отсюда немедленно, или я вырву эту булавку из твоих ноздрей и застегну ею твой поганый рот. Парень побелел. Беккер попридержал его еще минутку, потом отпустил. Затем, не сводя с него глаз, нагнулся, поднял бутылки и поставил их на стол.

Держись от нее подальше. - Где она? - Сердце Беккера неистово колотилось. - Пошел к черту. - У меня неотложное дело! - рявкнул Беккер. Он схватил парня за рукав.

В нем не было ни картин, ни мягкой мебели, ни фикусов в горшках, ни антикварных часов. Здесь все было подчинено одному требованию - эффективности. Стол, накрытый стеклом, и черный кожаный стул были расположены прямо перед громадным венецианским окном. Три шкафа-картотеки стояли в углу рядом с маленьким столиком с французской кофеваркой. Над Форт-Мидом высоко в небе сияла луна, и серебристый свет падал в окно, лишь подчеркивая спартанскую меблировку. Что же я делаю.

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

Беккер вошел в телефонную будку и начал набирать номер Стратмора. Не успел он набрать международный код, как в трубке раздался записанный на пленку голос: Todos los circuitos estan ocupados - Пожалуйста, положите трубку и перезвоните позднее. Беккер нахмурился и положил трубку на рычаг. Он совсем забыл: звонок за границу из Испании - все равно что игра в рулетку, все зависит от времени суток и удачи.

 Проваливай и умри.

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