Source:Chicago : The University of Chicago Press,, United States, p.x, 234 pages : (2019)
Mots-clés:Guadeloupe, Guadeloupe., History and criticism., Political aspects, Popular music, Postcolonialism and music
Includes bibliographical references (pages 213-223) and index.Introduction. Listening for (post)colonial entanglements -- The poetics of colonial aurality -- Building an anticolonial aurality: gwoka modènn as counterpoetics -- Discrepant creolizations: music and the limits of hospitality -- Diasporic or creole aurality: aesthetics and politics across the abyss -- Postnational aurality: institutional detour and the creolization of sovereignty -- Coda. Bigidi.In the Caribbean island of Guadeloupe, the complex interplay between anticolonial resistance and accommodation resounds in its music. Guadeloupean gwoka music - a secular, drum-based tradition - captures the entangled histories of French colonization, movements against it, and the uneasy process of the island's decolonization as an overseas territory of France. In Creolized Aurality, Jerome Camal demonstrates that musical sounds and practices express the multiple--and often seemingly contradictory--cultural belongings and political longings that characterize postcoloniality. While gwoka has been associated with anti-colonial activism since the 1960s, in more recent years it has provided a platform for a cohort of younger musicians to express pan-Caribbean and diasporic solidarities. This generation of musicians even worked through the French state to gain UNESCO heritage status for their art. These gwoka practices, Camal argues, are "creolized auralities"--expressions of a culture both of and against French coloniality and postcoloniality.--Cover.