Moshe Morad

Fiesta de diez pesos

Music and Gay Identity in Special Period Cuba

• Gebundenes Buch

Produktbeschreibung

The 'Special Period' in Cuba was an extended era of economic depression starting in the early 1990s, characterised by the collapse of revolutionary values and social norms, and a way of life conducted by improvised solutions for survival. In the course of eight visits between 1995 and 2007 Moshe Morad became absorbed in Havana's thriving, yet necessarily clandestine, gay scene, where he observed patterns of behaviour 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.

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Produktdetails

• Verlag: Taylor & Francis Ltd (Sales)
• Seitenzahl: 312
• Erscheinungstermin: 28. Dezember 2014
• Englisch
• Abmessung: 234mm x 156mm x 19mm
• Gewicht: 617g
• ISBN-13: 9781472424570
• ISBN-10: 1472424573
• Artikelnr.: 44364854

Autorenporträt

Moshe Morad is an ethnomusicologist, journalist and radio broadcaster, who has also presented 'on location' world music programmes on BBC Radio. His vast experience in the music industry includes managing the 'Hemisphere' world music label at EMI. He completed his PhD at SOAS, London, in 2013, following longitudinal fieldwork in Cuba.

Inhaltsangabe

Contents: Preface; Introduction. Part I Understanding... (Setting the
Scene): Understanding Cuban homosexualities: from 'maricón' to 'gay';
'Swing to sunshine in gay Havana': the capital's musicscape, ethnoscape,
and homoscape. Part II Dance Music and the Fiestas: The fiestas de diez
pesos scene; 'Watch how the locas do the despelote!': dance music genres
and their queer appropriation; 'Dancing identity': social and musical
analysis of the fiestas scene. Part III 'El Chow': Performance,
Performativity, and Audience: Performance, performativity and camp: a brief
introduction to Part III; Drag shows: glamour, empowerment, and resistance;
El Ballet Nacional, 'the most obvious discreet gay space in Havana'; Changó
versus Santa Barbara: Santería ritual performance as a gay space; ¡Yo soy
el bolero!: queer appropriation and identification in the kitchen.
Conclusion and some theoretical framing; Epilogue: ¡Ya empezó la fiesta!
(the party has already begun!); Appendix; Bibliography; Index.