The Creole Choir of Cuba: Reviving Caribbean History in 'Santiman'

Total Page：16

File Type：pdf, Size：1020Kb

H-Haiti The Creole Choir Of Cuba: Reviving Caribbean History In 'Santiman' Discussion published by Marlene Daut on Saturday, October 19, 2019 The Creole Choir Of Cuba: Reviving Caribbean History In 'Santiman' June 10, 20134:14 PM ET Heard on All Things Considered BANNING EYRE June 10, 20134:14 PM ET Heard on All Things Considered BANNING EYRE The Creole Choir of Cuba's latest album,Santiman , has a satisfying flow from celebration to solemnity. Citation: Marlene Daut. The Creole Choir Of Cuba: Reviving Caribbean History In 'Santiman'. H-Haiti. 10-19-2019. https://networks.h-net.org/node/116721/discussions/5106086/creole-choir-cuba-reviving-caribbean-history-santiman Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 1 H-Haiti Courtesy of the artist It might come as a surprise to learn that people of Haitian descent are the largest ethnic minority in Cuba. But that's the history behind The Creole Choir of Cuba, a vocal and percussion ensemble that performs songs about history, faith and social change in the Caribbean. The choir consists of six women and four men, who sing in tribute to the migrations of their ancestors. On their new album, Santiman, the choir delves into the intertwined histories of Cuba and neighboring Haiti. There are clear echoes of Christian church music in "Juramento," an arrangement of a Cuban folk song. But elsewhere, the focus shifts to pre-Christian sources, as in "Simbi," an ode to a Haitian spirit. The percussion and lead male vocal evoke the feeling of a Haitian Voodoo ceremony, with ties to ancient spiritual practices in West Africa. The history of Haitian immigration to Cuba goes back to the Haitian Revolution more than 200 years ago. It was only in the 1990s, however, that The Creole Choir of Cuba made the short trip to its ancestral home. Its members have since returned often, particularly in the wake of Haiti's devastating earthquake. The song "Pou Ki Ayiti Kriye?" asks how such a beautiful country has to suffer so much. Read the rest here: https://www.npr.org/2013/06/10/190345103/the-creole-choir-of-cuba-reviving-caribbean-history- in-santiman Citation: Marlene Daut. The Creole Choir Of Cuba: Reviving Caribbean History In 'Santiman'. H-Haiti. 10-19-2019. https://networks.h-net.org/node/116721/discussions/5106086/creole-choir-cuba-reviving-caribbean-history-santiman Licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License. 2.

Copy Link

Recommended publications

Philadelphia Dance Company DANCO on DANCO 8Pm | $20 in Advance/$25 Day of Show
Contact: Phil Sumpter | Director of Marketing | 215.925.9914 ext 15 | [email protected] FOR IMMEDIATE RELEASE: August 8, 2011 PAINTED BRIDE ANNOUNCES 2011 – 2012 LINE-UP DISTINQUISHED BY CARIBBEAN MUSIC & CULTURE, 2-YEAR THEATER INITIATIVE, AND 2-WEEK HOLIDAY THEATER PRODUCTION FOR FAMILIES CABARET DANCE PARTY FEATURING LATIN BIG BANDS CONTINUES SALSA CALIENTE 2.0 – OCT 7 LONG-AWAITED REGIONAL DEBUT OF NEW WORLD MUSIC SENSATION CREOLE CHOIR OF CUBA – OCT 16 GRAMMY NOMINEE ELIO VILLAFRANCA & THE JASS SYNCOPATORS FEATURING VICTOR LEWIS AND SPECIAL GUEST MEMBERS OF LOS PLENEROS DE LA 21 – OCTOBER 29 AWARD-WINNING THEATER DIRECTOR AIN GORDON COMES TO PHILADELPHIA TO UNEARTH STORIES FROM OUR COMMUNITIES MADE POSSIBLE THROUGH PEW’S PTI AWARD PARTNERED WITH GAS & ELECTRIC ARTS, BRIDE MOUNTS ALTERNATIVE HOLIDAY THEATER PRODUCTION ADAPTED FROM AWARD-WINNING CHILDREN’S BOOK HERSHEL AND THE HANUKKAH GOBLINS – DEC 20 - 31 Philadelphia, PA – Continuing its role as a catalyst for independent artists from the region and around the globe – Painted Bride Art Center enters its 42nd year offering audiences alternative travel passage to experience a world of culture fueled by various artistic forms and genres including music, dance, theater and the visual arts. 2011 – 2012 EVENT LISTINGS (ORDERED BY DATE) PRESS NOTE: ADDITIONAL EVENTS TO BE ANNOUNCED FALL 2011 Event bill listings w/ extended descriptions and links to additional info VISUAL ARTS | September 2 – October 16 On the Wall: Works by Anita Allyn, Marta Sanchez, Christian Herr, Jamar Nicholas, Mauro Zamora, and Nami Yamamoto Guest exhibit curator: Robert Raczka Art-in-Progress day: Friday, Sept 2 | 11am – 7pm.
[Show full text]
An Ethnomusicological Study of the Policies and Aspirations for US
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2014 Beyond the Blockade: An Ethnomusicological Study of the Policies and Aspirations for U.S.-Cuban Musical Interaction Timothy P. Storhoff Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC BEYOND THE BLOCKADE: AN ETHNOMUSICOLOGICAL STUDY OF THE POLICIES AND ASPIRATIONS FOR U.S.-CUBAN MUSICAL INTERACTION By TIMOTHY P. STORHOFF A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Spring Semester, 2014 Timothy Storhoff defended this dissertation on April 2, 2014. The members of the supervisory committee were: Frank Gunderson Professor Directing Dissertation José Gomáriz University Representative Michael B. Bakan Committee Member Denise Von Glahn Committee Member The Graduate School has verified and approved the above-named committee members, and certifies that the dissertation has been approved in accordance with university requirements. ii To Mom and Dad, for always encouraging me to write and perform. iii ACKNOWLEDGMENTS This dissertation was made possible through the support, assistance and encouragement of numerous individuals. I am particularly grateful to my advisor, Frank Gunderson, and my dissertation committee members, Michael Bakan, Denise Von Glahn and José Gomáriz. Along with the rest of the FSU Musicology faculty, they have helped me refine my ideas and ask the right questions while exemplifying the qualities required of outstanding educators and scholars. From the beginning of my coursework through the completion of my dissertation, I could not have asked for a finer community of colleagues, musicians and scholars than the musicologists at the Florida State University.
[Show full text]
2011 Spring Season JUN 2011
2011 Spring Season JUN 2011 Alexandre Arrechea, The Wind on My Face, 2010 Published by: BAM 2011 Spring Season sponsor: BAM 2011 Spring Season Brooklyn Academy of Music Alan H. Fishman, Chairman of the Board William I. Campbell, Vice Chairman of the Board Adam E. Max, Vice Chairman of the Board Karen Brooks Hopkins, President Joseph V. Melillo, Executive Producer presents The Creole Choir of Cuba Approximate BAM Howard Gilman Opera House running time: Jun 4 at 8pm one hour, 30 minutes, no Musical director Emilia Diaz Chavez intermission Producers Adam Spiegel, Jon Lee, John Simpson Production stage manager Stephen Petrilli Part of the ¡Sí Cuba! festival, a New York celebration of Cuban arts and culture BAM 2011 Spring Season sponsor: Support for ¡Sí Cuba! programming at BAM provided by The Mary Duke Biddle Foundation, The Reed Foundation, Blanchette Hooker Rockefeller Fund, and the Shelley & Donald Rubin Foundation Major support for ¡Sí Cuba! provided by Robert Sterling Clark Foundation, Ford Foundation, and Rockefeller Brothers Fund. The Creole Choir of Cuba Formed in 1994 by choir director Emilia Diaz Chavez, the 10-strong group hails from Camagüey, Cuba. Each member is a direct descendant of Haitian migrants who escaped slavery at the end of the 18th century, or more recently, came as laborers to work on Cuba’s sugar plantations. The Creole Choir of Cuba has preserved musical treasures from Haiti, Dominica, and Cuba within the active communities in Cuba. With information gathered from generations of Haitian immigrants, the Creole Choir of Cuba promotes and performs music of Haitian origin, especially “La Cancionistica,” music that has been enriched by elements of other Creole-speaking Caribbean countries.
[Show full text]
February 2006
FREE SAN DIEGO 10 YEARS ROUBADOUR Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news November 2011 www.sandiegotroubadour.com Vol. 11, No. 2 what’s inside Welcome Mat ………3 Mission Contributors San Diego Drum Shop Full Circle.. …………4 Josh White Jr. Recordially, Lou Curtiss Front Porch... ………6 Dixieland Jazz Festival David Page Kelsea Little Parlor Showcase …8 Coco and Lafe Ramblin’... …………10 Bluegrass Corner Zen of Recording Hosing Down Radio Daze Stages Highway’s Song. …12 Creole Choir of Cuba Of Note. ……………13 Big Shot Reub & the Reloaders Emmylou Harris Wild Older Women Quimera Music Peter Case ‘Round About ....... …14 November Music Calendar The Local Seen ……15 Photo Page Come visit me and see my art in Spanish Village. I’m in Studio 37 Mondays and Wednesdays. NOVEMBER 2011 SAN DIEGO TROUBADOUR welcome mat RSAN ODUIEGBO ADOUR A Music Store Just for Drummers Alternative country, Americana, roots, folk, Tblues, gospel, jazz, and bluegrass music news by Mark Pulliam sponsoring monthly swap meets (offering used equipment and the like) in the spa - MISSION CONTRIBUTORS rums (and drummers) are often cious parking lot; “drum nights” each the Rodney Dangerfield of the Tuesday from 7-11 p.m. featuring product To promote, encourage, and provide an FOUNDERS music business – they tend to get specialists from leading suppliers demon - alternative voice for the great local music that Ellen and Lyle Duplessie D no respect. Rich dilettantes collect fancy strating new and existing products, as is generally overlooked by the mass media; Liz Abbott namely the genres of alternative country, Kent Johnson vintage guitars, not drums.
[Show full text]
Viddal -Vodu Chic- Final for NWIG
Vodú Chic: Haitian Religion and the Folkloric Imaginary in Socialist Cuba The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Viddal, Grete Tove. 2012. Vodú chic: Haitian religion and the folkloric imaginary in socialist Cuba. New West Indian Guide 86(3-4): 205-236. Published Version http://www.kitlv-journals.nl/index.php/nwig/article/viewArticle/8543 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:10502407 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA (FINAL VERSION FOR NEW WEST INDIAN GUIDE 2012) GRETE VIDDAL VODÚ CHIC: HAITIAN RELIGION AND THE FOLKLORIC IMAGINARY IN SOCIALIST CUBA During the first three decades of the twentieth century, hundreds of thousands of Antillean workers – the majority Haitians – arrived in Cuba seeking employment in the expanding sugar industry of the newly independent Cuban republic. While some of these laborers returned to Haiti, many settled permanently in Cuba. How did Haitian migrants and their descendants integrate into Cuban society during ensuing decades? Historically, Haitian laborers were marginal, disenfranchised, and occupied the lowest socio-economic status in Cuban society. Haitian spiritual practices were misunderstood and feared; even practitioners of other Afro-Caribbean religions such as Santería often characterized Haitian Vodú as diabolical, powerful, and potentially dangerous. Similarly, officials scapegoated Haitans to quell anxieties produced by the social and economic tranformations in postcolonial Cuba.
[Show full text]
Haitian Religion and the Folkloric Imaginary in Socialist Cuba During the First Three Decades of the Twentieth Centu
New West Indian Guide Vol. 86, no. 3-4 (2012), pp. 205-236 URL: http://www.kitlv-journals.nl/index.php/nwig/index URN:NBN:NL:UI:10-1-101752 Copyright: content is licensed under a Creative Commons Attribution 3.0 License ISSN: 0028-9930 GRETE VIDDAL VODÚ CHIC: HAITIAN RELIGION AND THE FOLKLORIC IMAGINARY IN SOCIALIST CUBA During the first three decades of the twentieth century, hundreds of thou- sands of Antillean workers – the majority Haitians – arrived in Cuba seek- ing employment in the expanding sugar industry of the newly independent Cuban republic. While some of these laborers returned to Haiti, many settled permanently in Cuba. How did Haitian migrants and their descendants inte- grate into Cuban society during ensuing decades? Historically, Haitian laborers were marginal, disenfranchised, and occu- pied the lowest socio-economic status in Cuban society. Haitian spiritual practices were misunderstood and feared; even practitioners of other Afro- Caribbean religions such as Santería often characterized Haitian Vodú as dia- bolical, powerful, and potentially dangerous. Similarly, officials scapegoated Haitians to quell anxieties produced by the social and economic transforma- tions in postcolonial Cuba. As economic conditions in Cuba worsened during the worldwide economic downturn of the 1930s, Haitians were targeted for summary deportations under successive regimes.1 Until relatively recently, the maintenance of Haitian spiritual beliefs, music, dance, and language in Cuba were associated with rural isolation and poverty. Ethnographers
[Show full text]
Creole Choir of Cuba Wednesday, October 12 at 10Am Concert Hall
Creole Choir of Cuba Wednesday, October 12 at 10am Concert Hall Study Guides for Teachers are also available on our website at www.fineartscenter.com - select Global Arts under Education- then select Resource Room. Please fill out our online surveys at http://www.umass.edu/fac/centerwide/survey/ppeef.html Thank you! Welcome Information for Teachers and Parents Our goal is to offer high quality performances for young people in a safe and comfortable setting. Please help us by following the below guidelines. Please arrive early. You should arrive at the theatre 30 minutes prior to the noted start time. Allow for travel time, parking, being seated and bathroom visits. It is important that we begin our performances on time so that all schools can meet their lunch and/or dismissal times. Be sure to check the location of the performance when making your bus reservations. Performances take place in the Fine Arts Center Concert Hall or Bowker Auditorium in Stockbridge Hall. Please see the map at the end of this guide for driving and drop-off instructions. Upon arrival your group will be greeted by an usher either at your bus or in the lobby. We do not issue individual tickets for performances. Your usher will direct your group to their reserved seats. Both theaters are accessible for Mobility Impaired members. An infrared listening system is available in both theaters. Access parking is available adjacent to the theaters. An Access permit should be clearly visible in the parked vehicle. To better meet your needs, please inform us of any special seating requirements one month prior to the performance by calling 413-545-2116.
[Show full text]
Decolonizing the Caribbean Borderlands: the Haitian Revolution in Contemporary Latina/O Cultural Production
DECOLONIZING THE CARIBBEAN BORDERLANDS: THE HAITIAN REVOLUTION IN CONTEMPORARY LATINA/O CULTURAL PRODUCTION John D. Ribó A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2015 Approved by: María DeGuzmán Dominique Fisher Juan Carlos González Espitia Tanya Shields Ariana Vigil ©2015 John D. Ribó ALL RIGHTS RESERVED ii ABSTRACT John D. Ribó: Decolonizing the Caribbean Borderlands: The Haitian Revolution in Contemporary Latina/o Cultural Production (Under the direction of María DeGuzmán) In the last two decades scholars across a number of disciplines have demonstrated that the Haitian Revolution shapes our contemporary world in fundamental ways. Re-inscribing the events of Saint-Domingue between 1791-1804 into world history, philosophy, political science, and critical race, ethnic, literary, and cultural studies radically alters understandings of the early Atlantic world, of the age of revolutions, and of the origins of some of the most foundational ideas and ideals of contemporary globalized society such as freedom, equality, and human rights. Yet few scholars in Latina/o Studies have sought to trace the importance of Haiti and the Haitian Revolution in contemporary Latina/o cultural production. By bringing border thinking generated on the US-Mexico border into dialogue with scholarship on the silencing of Haiti and the Haitian Revolution, this dissertation un-silences the Caribbean borderlands exploring coloniality’s layered, fractal frontiers that connect Haiti, the Dominican Republic, Cuba, Puerto Rico, and the United States in order to bridge borders, unsettle entrenched nationalisms, and radically reorient the maps and timelines of contemporary hemispheric studies of the Americas.
[Show full text]
Phil Sumpter Dir
Contact: Phil Sumpter Dir. of Marketing & Communications 215.925.9914 ext. 15 FOR IMMEDIATE RELEASE: December 17, 2010 PAINTED BRIDE PRESENTS THE CREOLE CHOIR OF CUBA IN DEBUT US PERFORMANCE TOUR PREVIEW* UNDISCOVERED CUBAN MUSIC & CULTURAL ROOTS REVEALED FOR THE FIRST TIME PHILADELPHIA FIRST TO BARE WITNESS PHILADELPHIA, PA – Painted Bride Art Center, in partnership with the Haitian Professionals of Philadelphia, warmly welcome The Creole Choir of Cuba for its first stateside concert performance on Saturday, January 8, 2011 at 8pm. Tickets are $25. To purchase tickets, for more concert or venue info, visit paintedbride.org, call the Box Office at 215-925-9914 or visit the Painted Bride Art Center, located at 230 Vine Street in Philadelphia. The box office is open Tuesday through Saturday, 12pm until 6pm. Crush Card holders receive a 20% discount. Students and seniors always receive a 25% discount on tickets. Riding a wave of critical acclaim garnered by their debut CD release in the UK entitled Tande-la (Real World Records, Oct. 2010) The Creole Choir of Cuba tours the US for the first time to share musical and cultural treasures from Haiti, Dominica and Cuba. The choir sings in Creole – a distinct language which fuses African, French and indigenous languages. Passionate melodies, harmonies and richly textured arrangements accompanied by jubilant movement and impassioned spirit separate The Creole Choir of Cuba from any other ensemble witnessed from in the US. Philadelphia audiences can expect to hear, see and feel something completely different from Cuba as this 10-piece vocal and percussion ensemble takes the stage of the Bride to reveal an undiscovered musical gem telling stories of their Haitian ancestors, enslaved to the Caribbean from West Africa.
[Show full text]
Download This Performances Playbill
2 3 4 5 6 Skill.Smarts.Hardwork. That’s how you built your wealth. And that’s how we’ll manage it. The United Wealth Management Group is an independent team of skilled professionals with a single mission: to help their clients fulfill their financial goals. They understand the issues you face – and they can provide tailored solutions to meet your needs. To arrange a confidential discussion, contact Steven Daury, CerTifieD fiNANCiAl PlANNer™ Professional, today at 413-585-5100. 140 Main Street, Suite 400 • Northampton, MA 01060 413-585-5100 unitedwealthmanagementgroup.com tSecurities and Investment Advisory Services offered through NFP Securities, Inc., Member FINRA/SIPC. NFP Securities, Inc. is not affiliated with United Wealth Management Group. NOT FDIC INSURED • MAY LOSE VALUE • NOT A DEPOSIT• NO BANK GUARANTEE NO FEDERAL GOVERNMENT AGENCY GUARANTEES 7 4.875" x 3.75" UMASS FAC Playbill 8 9 10 11 12 In this Issue . 15 JAMES FARM 19 PATTI LUPONE “THE GYPSY IN MY SOUL” 22 WU MAN RETURNS TO THE EAST 27 THE CREOLE CHOIR OF CUBA 30 Fine Arts Center Board and Staff 31 Friends of the Fine Arts Center 34 Evacuation Diagram 36 Patron Services Information 37 Symbols of Support 13 9 14 Saturday, September 24, 2011, 8:00 PM Bowker Auditorium The Joy of Sax Series Opening JAMES FARM Joshua Redman, Saxophone Aaron Parks, Piano Matt Penman, Bass Eric Harland, Drums Program will be announced from stage Sponsored by: 15 James Farm could be one of those rare breakthrough bands—Miles and Brubeck did it long ago—that appeal to a significant audience beyond the jazz audience.
[Show full text]
Cuba's Haitian Heritage, the Folkloric Imaginary, and the State
Vodú Chic: Cuba's Haitian Heritage, the Folkloric Imaginary, and the State The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Viddal, Grete Tove. 2014. Vodú Chic: Cuba's Haitian Heritage, the Folkloric Imaginary, and the State. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:12274510 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Vodú Chic: Cuba’s Haitian Heritage, the Folkloric Imaginary, and the State A dissertation presented by Grete T. Viddal to The Department of African and African American Studies in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of African American Studies Harvard University Cambridge, Massachusetts December 2013 © 2013 Grete T. Viddal All rights reserved. Dissertation Advisor: Ingrid Monson Grete T. Viddal Vodú Chic: Cuba’s Haitian Heritage, the Folkloric Imaginary, and the State Abstract Hundreds of thousands of Haitian agricultural laborers arrived in Cuba to cut cane as the Cuban sugar industry was expanding between the 1910s and the 1930s, and many settled permanently on the island. Historically, Haitian laborers occupied the lowest strata in Cuban society. Until relatively recently, the maintenance of Haitian traditions in Cuba was associated with rural isolation and poverty. Today however, the continuation of Haitian customs is no longer associated with isolation, but exactly the opposite.
[Show full text]
FOR IMMEDIATE RELEASE: October 10, 2011 MEDIA ALERT – TOP OF
Contact: Phil Sumpter | Director of Marketing | 215.287.1179 (cell) | [email protected] FOR IMMEDIATE RELEASE: October 10, 2011 MEDIA ALERT – TOP OF NEXT WEEK! SUNDAY OCT 16 BRIDE PRESENTS REGIONAL PERFORMANCE PREMIERE OF THE CREOLE CHOIR OF CUBA - PART OF THE ENSEMBLE’S 1ST U.S. ALBUM RELEASE & NATIONAL TOUR MONDAY, OCT 17 CHOIR CONNECTS OFFSTAGE CONVERSATIONALLY WITH CHILDREN AND EDUCATIONALLY WITH ADVANCED VOCALISTS *** PHOTO / VIDEO / INTERVIEW OPPORTUNITIES WELCOMED *** Philadelphia PA – Presently performing on their first major U.S. tour, The Creole Choir of Cuba, debuts Philadelphia at the Painted Bride this Sunday, October 16 at 6pm. This highly-anticipated performance debut follows the unforeseeable and most unfortunate concert cancellation in January 2011 due to last minute visa clearance complications. The Choir’s twenty-three city tour coincides with its first U.S. album release TANDE-LA (which translates to “listen”) on Real World Records (2011). Their recording hailed, “One of the outstanding releases of the year” by UK’s Sunday Times and their live performance which “brought audience members to their feet with tears of joy” exclaims The Voice, tells stories of the ensemble’s Haitian ancestors who were brought to Cuba to toil in near slave conditions on the sugar and coffee plantations. The album 'Tande-la' on Real World Records is digitally available and in stores now! In addition to staging the regional debut of this new world music sensation, Painted Bride also presents a rare educational and cultural exchange opportunity with the choir. On Monday, October 17 the ten member ensemble will participate in a cultural exchange with elementary school students attending Independence Charter School located at 16th and Lombard streets (named one of the top city schools by Philadelphia Magazine this month).
[Show full text]