MARC Record from marc_columbia

LEADER: 04020cam a2200493 i 4500
001 14937603
005 20200811105057.0
008 190813t20202020nyua b 001 0 eng
010 $a 2019035260
024 $a40030025503
035 $a(OCoLC)on1112792313
040 $aDLC$beng$erda$cDLC$dOCLCO$dOCLCF$dYDX$dTJC
020 $a9780190928056$qhardcover
020 $a0190928050$qhardcover
020 $a9780190928063$qpaperback
020 $a0190928069$qpaperback
020 $z9780190928087$qelectronic book
020 $z9780190928070$qelectronic book
020 $z9780190928094$qelectronic book
035 $a(OCoLC)1112792313
042 $apcc
043 $anwht---
050 00 $aML3917.H3$bD57 2020
082 00 $a306.4/8424097294$223
100 1 $aDirksen, Rebecca,$eauthor.
245 10 $aAfter the dance, the drums are heavy :$bcarnival, politics, and musical engagement in Haiti /$cRebecca Dirksen.
264 1 $aNew York, NY :$bOxford University Press,$c[2020]
264 4 $c©2020
300 $axl, 441 pages ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aCurrents in Latin American & Iberian music
504 $aIncludes bibliographical references and index.
505 0 $aSounding Carnival -- Mixed modes and performance codes of political demonstrations and Carnival -- Wyclef's score : Popular motion, emotion, and commotion -- Sweet Micky's sllure : Vagabonds, vulgarities, and street politics -- The Konpa President's government on parade -- Ti Lili and Nèg Bannann nan (The Banana Man) -- The population's bacchanalia -- Response from the roots : Still not afraid -- Re-sounding Mizik Angaje.
520 $a"Haitian carnival offers a lens into popular power and politics. Political demonstrations in Haiti often manifest as musical performances. Studying carnival and political protest side by side brings insight to the musical engagement that ordinary citizens and celebrity musicians often cultivate and revere in contemporary Haiti. This book explores how the self-declared president of konpa Sweet Micky (Michel Martelly) rose to the nation's highest office while methodically crafting a political product inherently entangled with his musical product. It offers deep historical perspective on the characteristics of carnivalesque verbal play-and the performative skillset of the artist (Sweet Micky) who dominated carnival for more than a decade-including vulgarities and polemics. It moreover demonstrates that the practice of leveraging the carnivalesque for expedient political function has precedence in Haiti's history. Yet there has been profound resistance to this brand of politics led by many other high-profile artists, including Matyas and Jòj, Brothers Posse, Boukman Eksperyans, and RAM. These groups have each released popular carnival songs that have contributed to the public's discussions on what civic participation and citizenship in Haiti can and should be. Author Rebecca Dirksen presents an in-depth consideration of politically and socially engaged music and what these expressions mean for the Haitian population in the face of challenging political and economic circumstances. After the Dance, the Drums Are Heavy centers the voices of Haitian musicians and regular citizens by extensively sharing interviews and detailed analyses of musical performance in the context of contemporary events well beyond the musical realm"--$cProvided by publisher.
650 0 $aMusic$xPolitical aspects$zHaiti.
650 0 $aCarnival$zHaiti.
650 7 $aCarnival.$2fast$0(OCoLC)fst00847651
650 7 $aMusic$xPolitical aspects.$2fast$0(OCoLC)fst01030414
651 7 $aHaiti.$2fast$0(OCoLC)fst01205135
776 08 $iOnline version:$aDirksen, Rebecca,$tAfter the dance, the drum is heavy$dNew York : Oxford University Press, 2019.$z9780190928087$w(DLC) 2019035261
830 0 $aCurrents in Latin American & Iberian music.
852 00 $bmus$hML3917.H3$iD57 2020