Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera
Henry Meschonnic’s critique of Western understanding and theorization of rhythm are illuminating on thinking the singularity of minor poetics such as those of Afro-Antillean poetry and its diasporic derivations such as Tato Laviera's Nuyorican Poetry, whose work eloquently exemplifies the polyr...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Centro de Investigaciones de la Facultad de Filosofía y Humanidades
2019
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| Materias: | |
| Acceso en línea: | https://revistas.unc.edu.ar/index.php/intersticios/article/view/24315 |
| Aporte de: |
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I10-R10-article-24315 |
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ojs |
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Universidad Nacional de Córdoba |
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I-10 |
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R-10 |
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Revistas de la UNC |
| language |
Español |
| format |
Artículo revista |
| topic |
Rhythm Negritude Antillean Culture Nuyorican Literature Tato Laviera Ritmo Negritud Cultura Antillana Literatura niuyorriqueña Tato Laviera |
| spellingShingle |
Rhythm Negritude Antillean Culture Nuyorican Literature Tato Laviera Ritmo Negritud Cultura Antillana Literatura niuyorriqueña Tato Laviera López, Alejo Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera |
| topic_facet |
Rhythm Negritude Antillean Culture Nuyorican Literature Tato Laviera Ritmo Negritud Cultura Antillana Literatura niuyorriqueña Tato Laviera |
| author |
López, Alejo |
| author_facet |
López, Alejo |
| author_sort |
López, Alejo |
| title |
Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera |
| title_short |
Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera |
| title_full |
Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera |
| title_fullStr |
Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera |
| title_full_unstemmed |
Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera |
| title_sort |
black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of tato laviera |
| description |
Henry Meschonnic’s critique of Western understanding and theorization of rhythm are illuminating on thinking the singularity of minor poetics such as those of Afro-Antillean poetry and its diasporic derivations such as Tato Laviera's Nuyorican Poetry, whose work eloquently exemplifies the polyrhythmic singularity inscribed within an Afro-Antillean tradition and articulated as a cultural expression of resistance against the hegemonic social devices that confine these minor cultures to a subordinate and passive role. This black rhythm presupposes, in addition, a way of conceiving the world and inhabiting it through a bodily scheme that, following Maurice Merlau-Ponty, at the same time as it inhabits space, perceives and understands it, corporally and fruitively, by means of the Antillean ethos that constitutes it. These black verses, in short, emerge from its black skin emulating the famous title of the Martinican thinker Franz Fanon, whose essay, Black skin, white masks, illuminates clearly how these bodily schemes are always attached to its historical-racial dimension, introducing and thus making visible what Walter Mignolo calls the "colonial difference", that difference introduced by the blackness of the body inscribed in a system of colonial knowledge that constructs it as a racialized body, but which, at the same time, as Fanon points out, allows of its difference an emancipatory movement that is, as we try to demonstrate in this work, the one that guides and promotes the exceptional poetics of writers like Tato Laviera. |
| publisher |
Centro de Investigaciones de la Facultad de Filosofía y Humanidades |
| publishDate |
2019 |
| url |
https://revistas.unc.edu.ar/index.php/intersticios/article/view/24315 |
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2022-08-20T01:14:17Z |
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2022-08-20T01:14:17Z |
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1770718036375896064 |
| spelling |
I10-R10-article-243152019-12-20T15:29:46Z Black skin, black verses, black rhythms: polyrhythmia, syncopation and antillanity in the work of Tato Laviera Piel negra, versos negros, ritmos negros: polirritmia, sincopamiento y antillanidad en la obra de Tato Laviera López, Alejo Rhythm Negritude Antillean Culture Nuyorican Literature Tato Laviera Ritmo Negritud Cultura Antillana Literatura niuyorriqueña Tato Laviera Henry Meschonnic’s critique of Western understanding and theorization of rhythm are illuminating on thinking the singularity of minor poetics such as those of Afro-Antillean poetry and its diasporic derivations such as Tato Laviera's Nuyorican Poetry, whose work eloquently exemplifies the polyrhythmic singularity inscribed within an Afro-Antillean tradition and articulated as a cultural expression of resistance against the hegemonic social devices that confine these minor cultures to a subordinate and passive role. This black rhythm presupposes, in addition, a way of conceiving the world and inhabiting it through a bodily scheme that, following Maurice Merlau-Ponty, at the same time as it inhabits space, perceives and understands it, corporally and fruitively, by means of the Antillean ethos that constitutes it. These black verses, in short, emerge from its black skin emulating the famous title of the Martinican thinker Franz Fanon, whose essay, Black skin, white masks, illuminates clearly how these bodily schemes are always attached to its historical-racial dimension, introducing and thus making visible what Walter Mignolo calls the "colonial difference", that difference introduced by the blackness of the body inscribed in a system of colonial knowledge that constructs it as a racialized body, but which, at the same time, as Fanon points out, allows of its difference an emancipatory movement that is, as we try to demonstrate in this work, the one that guides and promotes the exceptional poetics of writers like Tato Laviera. La crítica del pensador francés Henry Meschonnic a la comprensión y teorización del ritmo en la historia de la literatura occidental resultan esclarecedoras para pensar la singularidad de poéticas menores como las de la poesía afro-antillana y sus derivaciones diaspóricas como la poesía niuyorriqueña de Tato Laviera, autor cuya obra ejemplifica elocuentemente esta singularidad polirrítmica inscripta en el seno de una tradición antillana de raíz negra y articulada como expresión cultural de resistencia frente a los dispositivos sociales hegemónicos que recluyen a estas culturas menores a un rol subalterno y pasivo. Este ritmo negro presupone, además, una forma de concebir al mundo y habitarlo a través de un esquema corporal que, siguiendo el pensamiento de Maurice Merlau-Ponty, al tiempo que habita el espacio lo percibe y comprende, corporal y fruitivamente, por medio del gozo presupuesto en ese ethos antillano que lo constituye. Versos negros, en definitiva, que surgen de su piel negra emulando el célebre título del pensador martiniqueño Franz Fanon, cuyo ensayo Piel negra, máscaras blancas ilumina con claridad meridiana como a estos esquemas corporales se les adosa siempre su dimensión histórico-racial, introduciendo y visibilizando de este modo lo que Walter Mignolo llama la “diferencia colonial”, esa diferencia introducida por la negritud del cuerpo inscripto en un sistema de conocimiento colonial que lo construye como cuerpo racializado, pero que al mismo tiempo, como señala Fanon, permite a partir de su diferencia un movimiento emancipatorio que es, como procuramos demostrar en este trabajo, el que guía y promueve la excepcional poética de escritores como Tato Laviera. Centro de Investigaciones de la Facultad de Filosofía y Humanidades 2019-08-10 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf https://revistas.unc.edu.ar/index.php/intersticios/article/view/24315 Interstices of politics and culture. Latin American interventions; Vol. 8 No. 15 (2019): Racismo, negritud y género: África, América Latina y el Caribe; 49-74 Intersticios de la política y la cultura. Intervenciones latinoamericanas; Vol. 8 Núm. 15 (2019): Racismo, negritud y género: África, América Latina y el Caribe; 49-74 Intersticipações de política e cultura. Intervenções na América Latina; v. 8 n. 15 (2019): Racismo, negritud y género: África, América Latina y el Caribe; 49-74 2250-6543 spa https://revistas.unc.edu.ar/index.php/intersticios/article/view/24315/24389 Derechos de autor 2019 Intersticios de la política y la cultura. Intervenciones latinoamericanas |