From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba
It is indubitable that the influence of Alejo Carpentier's narrative has been significant in the Latin American context, as well as his role in the legitimization of a nationalist cliché in nineteenth century Cuba. Nevertheless, numerous factors challenge the Carpenterian thesis. For instance,...
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| Formato: | Artículo publishedVersion |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2024
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| Acceso en línea: | https://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/14529 https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=14529_oai |
| Aporte de: |
| Sumario: | It is indubitable that the influence of Alejo Carpentier's narrative has been significant in the Latin American context, as well as his role in the legitimization of a nationalist cliché in nineteenth century Cuba. Nevertheless, numerous factors challenge the Carpenterian thesis. For instance, the complexity of Cuban society in the mid-century period, which made the formation of a unified nation unlikely. This was further compounded by the legacy of Spanish colonialism, the continued practice of slavery until 1886, and the process of creolisation and integration of the black population. The principal objective of this paper is to deconstruct the discourse on the canon of musical nationalism in colonial Cuba, with reference to Carpentier's nationalist/Americanist ideological agenda in La música en Cuba (1988). At the same time, the relevance of the term criollo or criollista is proposed for the study of musical activity related to certain relational and membership circuits located in nineteenth-century Cuba. In this context, the “performance complex” approach proposed by Alejandro Madrid (2012) for the post-national study of musical nationalism has proven to be a valuable contribution. |
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