MARC Record from marc_columbia

LEADER: 03744cam a2200517 i 4500
001 13629058
005 20190812094442.0
008 180518s2018 ctua b 001 0 eng
010 $a 2018023906
024 $a99981306214
035 $a(OCoLC)on1030394910
040 $aDLC$beng$erda$cDLC$dOCLCO$dOCLCF$dBDX$dERASA$dOCLCA$dOCLCQ$dYDX$dOCLCO$dUKMGB$dBNG$dTJC
019 $a1030378783$a1030471962$a1030484065
020 $a9780819577085$qhardcover ;$qalkaline paper
020 $a0819577081$qhardcover ;$qalkaline paper
020 $a9780819577092$qpaperback ;$qalkaline paper
020 $a081957709X$qpaperback ;$qalkaline paper
035 $a(OCoLC)1030394910$z(OCoLC)1030378783$z(OCoLC)1030471962$z(OCoLC)1030484065
042 $apcc
043 $af-sg---
050 00 $aML3503.S38$bS53 2018
082 00 $a780.89/96972910663$223
100 1 $aShain, Richard M.$q(Richard Matthew),$d1949-$eauthor.
245 10 $aRoots in reverse :$bSenegalese Afro-Cuban music and tropical cosmopolitanism /$cRichard M. Shain.
264 1 $aMiddletown, Connecticut :$bWesleyan University Press,$c[2018]
300 $axxvii, 210 pages :$bcolor illustrations ;$c23 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aMusic/culture
504 $aIncludes bibliographical and discographical references (pages [189]-205) and index.
505 0 $aIntroduction : Sound track for a Black Atlantic -- Kora(son) : Africa and Afro-Cuban music -- Havana/Paris/Dakar : Itineraries of Afro-Cuban music -- Son and sociality : Afro-Cuban music, gender, and cultural citizenship, 1950s-1960s -- From Sabor to Sabar : The rise of Senegalese Afro-Cuban orchestras, 1960s-1970s -- ReSONances senegalaises : Authenticity, cosmopolitanism, and the rise of Salsa M'balax, 1980s-1990s -- "Music has no borders" : The global marketing of a local msucial tradition, 1990s-2006 -- Conclusion : Making waves.
520 8 $aRoots in Reverse explores how Latin music contributed to the formation of the negritude movement in the 1930s. Taking Senegal and Cuba as its primary research areas, this work uses oral histories, participant observation, and archival research to examine the ways Afro-Cuban music has influenced Senegalese debates about cultural and political citizenship and modernity. Shain argues that the trajectory of Afro-Cuban music in twentieth century Senegal illuminates many dimensions of that nation's cultural history such as gender relations, generational competition and conflict, debates over cosmopolitanism and hybridity, the role of nostalgia in Senegalese national culture and diasporic identities. More than just a new form of musical enjoyment, Afro-Cuban music provided listeners with a tool for creating a public sphere free from European and North American cultural hegemony. --$cPage [4] of cover.
650 0 $aPopular music$zSenegal$xHistory and criticism.
650 0 $aPopular music$zSenegal$xCuban influences.
650 0 $aPopular music$xSocial aspects$zSenegal$xHistory.
650 7 $aPopular music.$2fast$0(OCoLC)fst01071422
650 7 $aPopular music$xCuban influences.$2fast$0(OCoLC)fst01765321
650 7 $aPopular music$xSocial aspects.$2fast$0(OCoLC)fst01071460
651 7 $aSenegal.$2fast$0(OCoLC)fst01204328
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
776 08 $iOnline version:$aShain, Richard M. (Richard Matthew), 1949-$tRoots in reverse.$dMiddletown, Connecticut : Wesleyan University Press, 2018$z9780819577108$w(DLC) 2018025256
830 0 $aMusic/culture.
852 00 $bmus$hML3503.S38$iS53 2018
852 00 $bafst$hML3503.S38$iS53 2018