DOCSLIB.ORG

Batuko and Funana: Musical Traditions of Santiago, Republic of Cape Verde

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Batuko and Funana: Musical Traditions of Santiago, Republic of Cape Verde University of Texas Rio Grande Valley ScholarWorks @ UTRGV Music Dissertations and Theses College of Fine Arts 5-1997 Batuko and Funana: Musical Traditions of Santiago, Republic of Cape Verde Susan Hurley-Glowa The University of Texas Rio Grande Valley Follow this and additional works at: https://scholarworks.utrgv.edu/mus_etd Part of the Music Commons Recommended Citation Hurley-Glowa, Susan, "Batuko and Funana: Musical Traditions of Santiago, Republic of Cape Verde" (1997). Music Dissertations and Theses. 2. https://scholarworks.utrgv.edu/mus_etd/2 This Dissertation is brought to you for free and open access by the College of Fine Arts at ScholarWorks @ UTRGV. It has been accepted for inclusion in Music Dissertations and Theses by an authorized administrator of ScholarWorks @ UTRGV. For more information, please contact [email protected], [email protected]. Batuko and Funana: Musical Traditions of Santiago, Republic of Cape Verde Susan Margaret Hurley-Glowa B.M., SUNY at Potsdam, 1981 Hochschulabschlussprufung, Aufbaustudium (Graduate Performance Diploma,), Staatliche Hochschule fur Musik, Freiburg im Breisgau, Germany, 1984 M.M., University of Louisville, 1986 M.A., Brown University, 1991 Thesis Submitted in partial fulfillment of the requirements for the Degree of Doctor of Philosophy in the Department of Music (Program in Ethnomusicology) at Brown University May 1997 This dissertation by Susan Margaret Hurley-Glowa is accepted in its present form by the Department of Music, (Program in Ethnomusicology) as satisfying the dissertation requirement for the degree of Doctor of Philosophy Date... Jeff Todd Titon Recommended to the Graduate Council Date Date . Marc Perlman Approved by the Graduate Council Date ...... 11 Vita Susan Margaret Hurley-Glowa was born in Carthage, New York on June 10, 1959. She grew up in Potsdam, New York and attended the Crane School of Music, SUNY at Potsdam as a performance major (french horn). After completing a B.M. degree in 1981, she was admitted to the Staatliche Hochschule fur Musik in Freiburg, Germany, where she studied horn with Ifor James. She completed an advanced degree in performance at the Freiburg conservatory in 1984. Susan returned to America and was admitted to the University of Louisville in Kentucky. She was awarded tuition scholarships and teaching assistantships from 1984-86 and won the University Concerto Competition in 1985. She earned a Masters of Music in performance from University of Louisville in 1986. Susan returned once again to Germany in 1986, married Josef Glowa whom she had met in Louisville, and took a position as the solo hornist with the Polizeiorchester Schleswig-Holstein in 1987. Susan and her husband left Germany and both entered graduate programs at Brown University in 1989. While at Brown University, Susan was awarded tuition scholarships, teaching assistantships, and proctorships from 1989-92, and in 1995-96. She won the University Concerto iii Competition in 1989-90 and performed a solo horn concerto with the Brown University Orchestra. Susan completed the Master of Arts degree in the Brown University Music Department in 1991, writing a masters paper entitled, "Cape Verdean Funana: Voice of the Badius." She was awarded a Fulbright Research Grant to fund doctoral research in Santiago, Republic of Cape Verde and did ten months of fieldwork there in 1992-93. Before and after that trip, she did extensive ethnomusicological research in the New England Cape Verdean communities. Following her return from Cape Verde, she was an adjunct faculty member of the Anthropology and Music Departments at Rhode Island College in 1994-95. In addition, Susan was contracted as a research scholar by the Office of Folklife Programs and Cultural Studies in 1994-95 to conduct field research on music in Cape Verdean-American communities for the Smithsonian's Festival of American Folklife, 1995. Her publications include entries on music and culture in Historical Dictionary of the Republic of Cape Verde, 3rd edition (Lobban and Lopes 1995) and the entries on music in Historical Dictionary of Guinea-Bissau, 3rd edition. (Lobban and Mendes, African Historical Dictionaries. Metuchen, NJ:Scarecrow Press. Publication pending). Other publications include the article, "Funana" in Continue the Tradition (Providence, Rhode Island: Rhode Island Heritage Committee, July 3, 1994). lV For my mother, who has always supported her children's dreams and aspirations, no matter how high we set them, and for my father, who set aside his own dissertation for the sake of his growing family. This is for you both with much love and appreciation for all of your help through the years. V Acknowledgments This study was made possible only through the help of many people in New England and in Cape Verde. I would like to express my heartfelt thanks to them here. My first thanks go to the Cape Verdean musicians who gave me their time and trust. I am particularly indebted to Norberto Tavares who introduced me to Cape Verde and its musicians and who continues to teach me. I would like to acknowledge the musicians who helped me in Cape Verde, especially Balila, Kode di Dona, Serna Lopi, Toi de Barros, Tchin Tabari, Armando Semedo, Emilio Tavares, Dona Ina and the batuko ensemble of Sao Domingos, Ano Nobu, Nasia Gomi, Dany Carvalho, Russo Bettencourt, and Palo from FinaGon. Many other Cape Verdean musicians living in Southern New England gave me their time and assistance. I gratefully acknowledge help from Celestino Veiga, Palmira Makhlouf, Antonio Tavares, Joao Cerilo, Napoleon Teixiera, Junior Gregor, Joaquim Santos and his wonderful extended family (especially Tina). My extended research in Praia was supported by a Fulbright Fixed Sum Grant. I am greatly indebted to the Fulbright Commission for selecting to support my project. I had the good fortune to learn about ethnomusicology at Brown University from some wonderful people and scholars. I want to single out my primary professors Jeff Titon, my advisor, and Carol Babiracki. I thank them heartly their Vl patience and kindness. I would also like to thank Professors David McAllester, Henry Kingsbury, and Judit Frigyesi for their help and inspiration to me at Brown. The graduate students who studied ethnomusicology at Brown University with me are a close-knit group. We learned much from each other over the years and helped each other with both theoretical and practical problems. I am particularly grateful to my "littermates" Kathy McKinley, Patrick Hutchinson, Franziska von Rosen, Tim Cooley, and Greg Barz. I want to add Sheila Hogg to this list, although she is not exactly in the program. You are an exciting bunch to work with and I appreciate your help. In academia there are two other people I want to thank. From the very beginning, Dr. Richard Lobban from Rhode Island College has given me (and many other) fledging Cape Verdean scholars his utmost support. Through his hard and persistent work he has built his institution into the center for Cape Verdean studies in America. Richard has helped me to establish my professional scholarly and teaching credentials and has provided continuous encouragement for which I am thankful. I am also grateful to his wife and colleague Dr. Carolyn Fluehr-Lobban for her support and for being such a wonderful role model for women scholar/professors. There are others who contributed insights or helped me further my research in various ways. In Cape Verde, I would like to thank Segisnando and Elisio Rodrigues, Antero Veiga, Julio Tavares, Hermann Rolfs, the Paulo Bettencourt family, Dr. Edgar Felger, Evelyn Figueredo from the Prime Minister's vii Office, Nezi (my Krioulo teacher), Nick P., and our multinational, mostly Dutch, group of friends. In Portugal, I express thanks to Dr. Castello-Branco, Jorge Ribeira, and Miriam Lopes. In Rhode Island, I acknowledge the help of Dan Kahn and Winnie Lambrecht from the Rhode Island Council on the Arts. I also thank Chris Dunn, who helped me with Portuguese translations, and my two Krioulo teachers from Pawtucket, Tony Lima and Ismael da Silva. Lastly, I would like to thank my family for their support over the years: my parents and siblings, my Cape Verdean-born son Philip, my son Tristan who kept me company in my belly during the long lonely writing process, and my husband Josef. Josef's love, language skills, communicative spirit, and endless enthusiasm for a good festa were of invaluable assistance to my work. viii TABLE OF CONTENTS PART ONE - INTRODUCTION Statement Of Subject And Dissertation Overview ....... 3 Introduction To The Republic Of Cape Verde ........... 10 Physical Features .................................... 17 Brief History Of Cape Verde .......................... 25 Krioulo Culture ...................................... 30 An Overview Of Music In Cape Verde ................... 49 Project Details History of the Project Circumstances of Fieldwork .................................... 63 Methodology.................. ................... 78 Review of Scholarly Literature ....................... 83 PART TWO - BATUKO "Batuko Makes The Whole World Shake"--A Narrative Description Of A Batuko Performance" .............. 100 An Ethnography of Batuko ............................. 118 General Description of Batuko ................... 118 Finason .................................... 133 Batuko ensemble members .................... 139 Specific batuko groups and their leaders ... 144 Batuko settings ............................ 149 Batuko performances .......................
Load more

Recommended publications
  • Toom-Bah-Ee-Lero”
    ESO WORLD TOUR Grades 1 through 8 Tuesday, April 2, 2019 (Middle School Day) Wednesday, April 3, 2019 Thursday, April 4, 2019 Friday, April 5, 2019 1 ESO WORLD TOUR Spring Festival Overture Li Huanzhi Shepherd’s Hey Percy Grainger Polonaise brillante No. 2 Henryk Wieniawski Claire Arias-Kim, violin African Drumming Demo Michael Folker Beneath Alex Shapiro Suite from “Frozen” Arr. Krogstad Mambo from West Side Story Leonard Bernstein 2 Many thanks to the Elgin Symphony’s education committee for the idea to take this concert on a world tour! It was a unanimous choice: let’s sample orchestral music from the world’s seven continents. Choosing the repertoire for the concert was not as easy as we thought it might be during the conception of this program. How can we narrow down the large quantity of orchestral music from Europe, where the symphony orchestra originated? Bach, Mozart, Brahms, Beethoven would all be obvious choices. In a surprising twist we chose a composer from Poland, the home of the brilliant violinist and composer Henryk Wieniawski. We are thrilled to have young violinist Claire Arias-Kim as our soloist for Wieniawski’s Polonaise brilliante No. 2. What repertoire can we choose from the continents with musical traditions that don’t necessarily include traditional western orchestral instruments? What do we do about Antarctica? (We always try to program something that’s just pure fun.) For Africa, we felt it was important to demonstrate the drumming traditions and to highlight the expertise of one of our members, percussionist Michael Folker. It became a concert of interesting connections.
    [Show full text]
  • An Online Cultural Mobility Funding Guide for AFRICA
    An online cultural mobility funding guide for AFRICA — by ART MOVES AFRICA – Research INSTITUT FRANÇAIS – Support ON THE MOVE – Coordination Third Edition — Suggestions for reading this guide: We recommend that you download the guide and open it using Acrobat Reader. You can then click on the web links and consult the funding schemes and resources. Alterna- tively, you can also copy and paste the web links of the schemes /resources that interest you in your browser’s URL field. This guide being long, we advise you not to print it, especially since all resources are web-based. Thank you! Guide to funding opportunities for the international mobility of artists and culture professionals: AFRICA — An online cultural mobility funding guide for Africa by ART MOVES AFRICA – Research INSTITUT FRANÇAIS – Support ON THE MOVE – Coordination design by Eps51 December 2019 — GUIDE TO FUNDING OPPORTUNITIES FOR THE INTERNATIONAL MOBILITY OF ARTISTS AND CULTURE PROFESSIONALS – AFRICA Guide to funding opportunities for the international This Cultural Mobility Funding Guide presents a mapping of mobility of funding opportunities for interna- tional cultural mobility, focused artists and culture on the African continent. professionals The main objective of this cul- tural mobility funding guide is to AFRICA provide an overview of the fund- ing bodies and programmes that support the international mobility of artists and cultural operators from Africa and travelling to Africa. It also aims to provide input for funders and policy makers on how to fill the existing
    [Show full text]
  • Queens College Student Choreography Showcase 2021
    Queens College Student Choreography Showcase 2021 About the Choreographers Alisha Anderson is a professional dancer who works every day to fulfill the highest expression of herself as a human being and an artist. Alisha has studied various genres of dance for over 20 years and specializes in tap, Afrobeat and African dance. She began her dance career at her family owned dance school, Dance Arts Repertory Theater, which had a well known company called Yori that specialized in African dance; and inspired her to become a professional African dancer. Alisha has studied under Randi Lloyd, Lancelot Theobald, Shandella Molly, Jewel Love, Chet and many more. She is currently attending Queens College where she is graduating with a Minor in Dance and a MaJor in Education. Alisha has traveled to Ghana, Senegal and other countries in West Africa to further her studies in African dance. Alisha has performed professionally with Salsa Ache which is a salsa and Afro Caribbean dance company, and currently performs with two of the top African dance companies in New York City, Harambee and Bambara. In 2014 Alisha joined Harambee which is directed by Shandella Molly and located in Bronx, NY. With Harambee Alisha has performed for the African American Museum, Nick Cannon, Vice the TV show and many more. In 2015 she joined Bambara which is directed by Jewel Love, and with the company she has performed for the Tira Banks show, Dance Africa (BAM), numerous African festivals, weddings and much more. Alisha began her teaching career at Layla Dance and Drum school where she has taught for the past three years and enjoys working with the students.
    [Show full text]
  • O Estudo Do Desenvolvimento Rural Integrado Das Bacias Hidrográficas Da Ilha De Santiago
    DAS BACIAS HIDROGRÁFICAS DA ILHA DE SANTIAGO DE HIDROGRÁFICAS DA ILHA BACIAS DAS INTEGRADO RURAL DO DESENVOLVIMENTO O ESTUDO VERDE CABO DE A REPÚBLICA DIRECÇÃO GERAL DA AGRICULTURA, SILVICULTURA E PECUÁRIA (MADRRM) A REPÚBLICA DE CABO VERDE O ESTUDO DO DESENVOLVIMENTO RURAL INTEGRADO DAS BACIAS HIDROGRÁFICAS DA ILHA DE SANTIAGO DA REPÚBLICA DE CABO VERDE (RELATÓRIO PRINCIPAL) RELATÓRIO FIN RELATÓRIO FINAL AL (RELATÓRIO PRINCIPAL) NOVEMBRO 2010 DEZEMBRO 2010 AGÊNCIA DE COOPERAÇÃO INTERNACIONAL JAPÃO NTC INTERNATIONAL CO., LTD. SNO JR 10-007 DIRECÇÃO GERAL DA AGRICULTURA, SILVICULTURA E PECUÁRIA (MADRRM) A REPÚBLICA DE CABO VERDE O ESTUDO DO DESENVOLVIMENTO RURAL INTEGRADO DAS BACIAS HIDROGRÁFICAS DA ILHA DE SANTIAGO DA REPÚBLICA DE CABO VERDE RELATÓRIO FINAL (RELATÓRIO PRINCIPAL) DEZEMBRO 2010 AGÊNCIA DE COOPERAÇÃO INTERNACIONAL JAPÃO NTC INTERNATIONAL CO., LTD. Composição do Relatório Final RELATÓRIO PRINCIPAL ANEXOS Prefácio O Governo do Japão, em resposta à solicitação do Governo da República de Cabo Verde, decidiu realizar um estudo relativo ao Plano Integrado de Desenvolvimento Rural das Bacias Hidrográficas da Ilha de Santiago, daquela República, e este foi implementado pela Agência de Cooperação Internacional do Japão. Esta Agência, então, enviou a Cabo Verde uma delegação chefiada pelo Sr. Shigeru Nakada da empresa NTC International, no período de Janeiro de 2008 a Dezembro de 2010. A Delegação de Estudo, além de manter discussões com as autoridades competentes da República de Cabo Verde, realizou uma série de estudos de campo e, após trabalhos relativos no Japão, hoje tem o prazer de apresentar o Relatório concluído. O nosso desejo é de que este Relatório venha não só a dar contributos ao desenvolvimento rural sustentado da República de Cabo Verde, como também corrobore no fortalecimento ainda maior dos laços de amizade entre as duas Nações.
    [Show full text]
  • O Planeamento Na Assomada: Proposta De Parâmetros
    Sandra Maria Moniz Tavares O Planeamento na Assomada: Proposta de Parâmetros Urbanísticos Para a Construção da Qualidade no Ambiente do Território Urbano em Cabo Verde, Assomada – Santa Catarina como Caso de Estudo. Orientador: Professor Doutor José Diogo Da Silva Mateus Universidade Lusófona de Humanidades e Tecnologias, Departamento de Urbanismo. Lisboa, Junho de 2012 Sandra Maria Moniz Tavares O Planeamento na Assomada: Proposta de Parâmetros Urbanísticos Para a Construção da Qualidade no Ambiente do Território Urbano em Cabo Verde, Assomada – Santa Catarina como Caso de Estudo. Dissertação apresentada para a obtenção do Grau de Mestre, no curso de Mestrado em Urbanismo, conferido pela Universidade Lusófona de Humanidades e Tecnologias. Orientador: Professor Doutor José Diogo Da Silva Mateus Universidade Lusófona de Humanidades e Tecnologias Lisboa, Junho de 2012 Dedicatória Dedico este trabalho aos meus familiares, em especial aos meus pais, avó, esposo, filhos e irmãos pela estima, pelo carinho e pelo amor souberam acolher e acompanhar a minha decisão em enfrentar aos novos desafios pela busca de conhecimentos e novas oportunidades que a vida me exigiu. Por isso não posso deixar de, com muito apreço manifestar a profunda gratidão. 3 AGRADECIMENTOS O Planeamento na Assomada: Propostas de Parâmetros Urbanísticos para a Construção da Qualidade no Ambiente do Território, é o resultado de uma investigação intensa, baseada: nos trabalhos de terreno, inquéritos, recolha bibliográfica, análises dos ortofotomapas existentes e de outros documentos em Assomada - Santa Catarina, ilha de Santiago Cabo Verde. A proposta de um quadro paramétrico e do esboço de cartogramas que protege, valorize e recupere o ambiente no território, não teria sido possível, sem a colaboração de um conjunto de entidades e pessoas que doutamente contribuíram para a sua concretização.
    [Show full text]
  • Critiquing the Crisis Through Music – Three Songs About Life in Cyprus Before and After the ‘Haircut’ of March 2013
    9_MIKE_HAJIMICHAEL:2_TAO 9/6/15 14:23 233 Critiquing the Crisis through Music – Three Songs about Life in Cyprus Before and After the ‘Haircut’ of March 2013 MIKE HAJIMICHAEL Abstract This essay reflects on three songs from Cyprus written, released and performed on/or about/around the bailout crisis of March 2013. While the songs come from three different musical genres and artists they articulate a number of themes which are pertinent to understanding the economic crisis as a possible succession of a number of political crises and unresolved wounds that go back to the 1970s. One of the essay’s main objectives is to contribute to an emerging field in contemporary Cypriot scholarship, namely that of popular music studies through a contextual analysis of songs and the art of listening (Back, 2008). The essay also aims to develop an understanding of songs as commentary, as a form of media narrative on everyday lived experiences as reflected by musicians living through economic and political crises in Cyprus. Keywords: popular music, protest, songs, ethnomusicology, Cyprus, crisis, ethnography Introduction Music has always been a barometer of society’s problems, often reflecting on social, economic and political conditions. Musicians act as commentators on the present, reflecting on society’s anxieties, injustices and problems. We listen to songs by modern day ‘troubadours’ who express ideas through the looking glass of music on the world around them, as they see it. Every generation and moment in history has its own epoch-defining music. Bob Dylan’s ‘Blowin in the Wind’, John Lennon’s ‘Imagine’, The Sex Pistols ‘God Save The Queen’ and Bob Marley’s ‘Redemption Song’.
    [Show full text]
  • A Musical Instrument of Global Sounding Saadat Abdullayeva Doctor of Arts, Professor
    Focusing on Azerbaijan A musical instrument of global sounding Saadat ABDULLAYEVA Doctor of Arts, Professor THE TAR IS PRObabLY THE MOST POPULAR MUSICAL INSTRUMENT AMONG “The trio”, 2005, Zakir Ahmadov, AZERbaIJANIS. ITS SHAPE, WHICH IS DIFFERENT FROM OTHER STRINGED INSTRU- bronze, 40x25x15 cm MENTS, IMMEDIATELY ATTRACTS ATTENTION. The juicy and colorful sounds to the lineup of mughams, and of a coming from the strings of the tar bass string that is used only for per- please the ear and captivate people. forming them. The wide range, lively It is certainly explained by the perfec- sounds, melodiousness, special reg- tion of the construction, specifically isters, the possibility of performing the presence of twisted steel and polyphonic chords, virtuoso passag- copper strings that convey all nuanc- es, lengthy dynamic sound rises and es of popular tunes and especially, attenuations, colorful decorations mughams. This is graphically proved and gradations of shades all allow by the presence on the instrument’s the tar to be used as a solo, accom- neck of five frets that correspondent panying, ensemble and orchestra 46 www.irs-az.com instrument. But nonetheless, the tar sounding board instead of a leather is a recognized instrument of solo sounding board contradict this con- mughams when the performer’s clusion. The double body and the mastery and the technical capa- leather sounding board are typical of bilities of the instrument manifest the geychek which, unlike the tar, has themselves in full. The tar conveys a short neck and a head folded back- the feelings, mood and dreams of a wards. Moreover, a bow is used play person especially vividly and fully dis- this instrument.
    [Show full text]
  • Investment Policy Review of Cabo Verde
    UNCTAD UNITED NATIONS CONFERENCE ON TRADE AND DEVELOPMENT The Investment Policy Review of Cabo Verde is the latest in a series of investment policy reviews INVESTMENT POLICY REVIEW undertaken by UNCTAD at the request of countries interested in improving their investment framework and climate. The economies included in this series are: Egypt (1999) Kenya (2005) The former Yugoslav Uzbekistan (1999) Colombia (2006) Republic of Macedonia (2011) Uganda (2000) Rwanda (2006) Mozambique (2012) Djibouti (2013) Peru (2000) Zambia (2007) Mongolia (2013) Mauritius (2001) Morocco (2008) Bangladesh (2013) Ecuador (2001) Viet Nam (2008) Ethiopia (2002) Republic of Moldova (2013) Dominican Republic (2009) United Republic of Republic of the Congo (2015) I Nigeria (2009) Tanzania (2002) The Sudan (2015) CABO VERDE Mauritania (2009) Botswana (2003) Bosnia and Herzegovina (2015) Ghana (2003) Burkina Faso (2009) Kyrgyzstan (2015) Lesotho (2003) Belarus (2009) Madagascar (2015) Nepal (2003) Burundi (2010) Tajikistan (2016) Sri Lanka (2004) Sierra Leone (2010) The Gambia (2017) Algeria (2004) El Salvador (2010) South-East Europe (2017) Benin (2005) Guatemala (2011) Lebanon (2018) CABO VERDE Visit the website on IPRs http://unctad.org/ipr UNITED NATIONS Layout and Printing at United Nations, Geneva – 1821601 (E) – August 2018 – 486 – UNCTAD/DIAE/PCB/2018/2 CABO VERDE New York and Geneva, 2018 © 2018, United Nations The work is available through open access by complying with the Creative Commons licence created for intergovernmental organizations, at http://creativecommons.org/licenses/by/3.0/igo/. The designations employed and the presentation of material in this work do not imply the expression of any opinion whatsoever on the part of the United Nations concerning the legal status of any country, territory, city or area or of its authorities, or concerning the delimitation of its frontiers or boundaries.
    [Show full text]
  • U.S. Cape Verdeans & Black Identity Politics in the Era of Revolutions
    Journal of Cape Verdean Studies Volume 1 | Issue 1 Article 8 4-2015 “Free Men Name Themselves”: U.S. Cape Verdeans & Black Identity Politics in the Era of Revolutions, 1955-75 Aminah Pilgrim Follow this and additional works at: http://vc.bridgew.edu/jcvs Part of the Critical and Cultural Studies Commons, and the International and Area Studies Commons Recommended Citation Pilgrim, Aminah. (2015). “Free Men Name Themselves”: U.S. Cape Verdeans & Black Identity Politics in the Era of Revolutions, 1955-75. Journal of Cape Verdean Studies, 1(1), 101-120. Available at: http://vc.bridgew.edu/jcvs/vol1/iss1/8 Copyright © 2015 Aminah Pilgrim This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. © 2015 Aminah Pilgrim Journal of Cape Verdean Studies 101 April 2015 . Number 1, pp. 101-120 ©Aminah Pilgrim, 2015 \\FREE MEN NAME THEMSELVES": U.S. CAPE VERDEANS & BLACK IDENTITY POLITICS INTHE ERA OF REVOLUTIONS, 1955-75 Aminah Pilgrim University of Massachusetts Boston, USA Abstract: Contrary to widely held assumptions about Cape Verdean immigrants in the US - based on oral folklore and early historiography - the population was never "confused" about their collective identity. Individuals and groups of Cape Verdeans wrestled with US ra­ cial ideology just as they struggled to make new lives for themselves and their families abroad. The men and women confronted African-American or "black" identity politics from the moment of their arrivals upon these shores, and chose very deliberate strate­ gies for building community, re-inventing their lives and creating pathways for survival and resistance.
    [Show full text]
  • REFLEXO DA CIDADE VELHA Arquitectura, Património E Turismo: O Caso Cidade Velha Em Cabo Verde
    UNIVERSIDADE DA BEIRA INTERIOR Engenharia REFLEXO DA CIDADE VELHA Arquitectura, Património e Turismo: O caso Cidade Velha em Cabo Verde Tatiana Pavliuc Dissertação para obtenção do Grau de Mestre em Arquitectura (ciclo de estudos integrado) Orientador: Prof. Doutor Cláudia Sofia São Marcos Miranda Beato Co-orientador: Prof. Susana Martins Covilhã, Outubro de 2013 ii Agradecimentos A minha mãe e irmã. A todos que de forma directa ou indirecta me auxiliaram ao longo deste percurso académico. iii iv Resumo A partir das últimas décadas do séc. XX, o turismo em Cabo Verde tem sido um dos sectores que mais cresceu, atraindo maior investimento directo estrangeiro. Contudo, este crescimento pode criar maior pressão sobre os recursos existentes, com impactos negativos a vários níveis. Há uma clara reflexão sobre a valorização, preservação e conservação do património nacional, em que se apostou no centro histórico de Ribeira Grande, Cidade Velha, portadora de uma história única no mundo inteiro, sendo o berço da nação crioula e o lugar onde nasceu o comércio dos escravos. Teve uma existência de tempos dourados quase efémera, mas soube tirar partido disso e ser eficiente na altura. O tema desta dissertação constitui um estudo que relaciona a história com o desenho urbano, a imagem da cidade a partir de vários pontos da mesma, a economia, a sociologia, e a arquitectura com o património e o turismo. Uma forma de demostração em como revitalizar o lugar histórico, quase rural da Cidade Velha de Ribeira Grande, é valorizando o meio ambiente, conservando o património cultural, natural, construído e subaquático. Alia-se dessa maneira um estudo de pesquisa sobre história, paisagem, dotações urbanas e equipamentos, para assim dar lugar a uma “reciclagem” ao espaço e ao Património Mundial, sem perturbar o meio ambiente, tornando-o atractivo, e desenvolvendo a sua economia no sector de Turismo Sustentável.
    [Show full text]
  • Mirror, Mediator, and Prophet: the Music Indaba of Late-Apartheid South Africa
    VOL. 42, NO. 1 ETHNOMUSICOLOGY WINTER 1998 Mirror, Mediator, and Prophet: The Music Indaba of Late-Apartheid South Africa INGRID BIANCA BYERLY DUKE UNIVERSITY his article explores a movement of creative initiative, from 1960 to T 1990, that greatly influenced the course of history in South Africa.1 It is a movement which holds a deep affiliation for me, not merely through an extended submersion and profound interest in it, but also because of the co-incidence of its timing with my life in South Africa. On the fateful day of the bloody Sharpeville march on 21 March 1960, I was celebrating my first birthday in a peaceful coastal town in the Cape Province. Three decades later, on the weekend of Nelson Mandela’s release from prison in February 1990, I was preparing to leave for the United States to further my studies in the social theories that lay at the base of the remarkable musical movement that had long engaged me. This musical phenomenon therefore spans exactly the three decades of my early life in South Africa. I feel privi- leged to have experienced its development—not only through growing up in the center of this musical moment, but particularly through a deepen- ing interest, and consequently, an active participation in its peak during the mid-1980s. I call this movement the Music Indaba, for it involved all sec- tors of the complex South African society, and provided a leading site within which the dilemmas of the late-apartheid era could be explored and re- solved, particularly issues concerning identity, communication and social change.
    [Show full text]
  • FOR CODESRIA Anyidoho/Madame Virginie Niang Sept 17-19
    1 THE IMPORTANCE OF AFRICAN POPULAR MUSIC STUDIES FOR GHANAIAN/AFRICAN STUDENTS by John Collins INTRODUCTION A) The role of popular music and mass entertainment in the independence struggle and the consequent importance of local popular performance in the vision of pioneer African leaders: i.e. a mass music for a mass party (eg highlife as the product of the ‘veranda boy’ class). Thus the state support of popular as well as traditional and western type art/religious music sectors by the pioneering leaders Nkrumah, Nyere, Sekou Toure, President Keita. Their approach can therefore be considered as tri-musical B) The failure of this tri-musical approach being transmitted into the Ghanaian tertiary education system. This became rather bi-musical; i.e. the training of students only in traditional African and imported western art idioms C) Some reasons for this intellectual university hostility to popular music/culture 1) imported elitist, Marxist and Frankfurt School ideas concerning the ephemeral, frivolous, low status and inconsequential nature (cf. high art) of popular music and performance. 2) Residual African traditional attitudes towards professional musicians. Low regard and apprehension of such indigenous professional traditional groups as West African jalis/griots, praise drummers and goje players D) The negative consequences of the narrow bi-musical approach has effected both the university students and the evolution of local musical forms such as highlife music and the concert party. It fosters elitist attitudes by students who do not consider the creative role of the masses and intermediate classes important in musical development. It has in a lack of intellectual input into local popular music: few books and biographies on the topic, no intellectual input into it.
    [Show full text]