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: | http://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 |
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I28-R145-14529_oai |
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Universidad de Buenos Aires |
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R-145 |
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Repositorio Digital de la Universidad de Buenos Aires (UBA) |
| language |
Español |
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spa |
| topic |
Alejo Carpentier musical nationalism 19th century Cuba Alejo Carpentier nacionalismo musical siglo XIX Cuba Alejo Carpentier nacionalismo musical século XIX Cuba |
| spellingShingle |
Alejo Carpentier musical nationalism 19th century Cuba Alejo Carpentier nacionalismo musical siglo XIX Cuba Alejo Carpentier nacionalismo musical século XIX Cuba Pearce, Margarita From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba |
| topic_facet |
Alejo Carpentier musical nationalism 19th century Cuba Alejo Carpentier nacionalismo musical siglo XIX Cuba Alejo Carpentier nacionalismo musical século XIX Cuba |
| description |
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. |
| format |
Artículo publishedVersion |
| author |
Pearce, Margarita |
| author_facet |
Pearce, Margarita |
| author_sort |
Pearce, Margarita |
| title |
From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba |
| title_short |
From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba |
| title_full |
From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba |
| title_fullStr |
From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba |
| title_full_unstemmed |
From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba |
| title_sort |
from the archive to the invention of the nationalist myth in la música en cuba: new perspectives on criollismo in 19th-century cuba |
| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2024 |
| url |
http://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 |
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| _version_ |
1824358484259373056 |
| spelling |
I28-R145-14529_oai2024-12-10 Pearce, Margarita 2024-09-12 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. Sin dudas la influencia de la narrativa de Alejo Carpentier ha sido significativa en el contexto latinoamericano, así como su acción legitimadora en la creación de un tópico nacionalista en el siglo XIX en Cuba. Sin embargo, existen numerosos factores que contradicen la tesis carpenteriana como, por ejemplo, la propia complejidad de la sociedad cubana a mediados de siglo y, por tanto, la poca probabilidad de la formación de una nación homogénea y unificada en esta etapa, entre otras razones debido al problema de la colonización española, la permanencia de la esclavitud hasta 1886 y el proceso de criollización e integración de la población negra. El objetivo principal del presente trabajo es deconstruir el discurso sobre el canon del nacionalismo musical en la Cuba colonial cimentado sobre la agenda ideológica nacionalista/americanista de Carpentier en La música en Cuba (1988). Al mismo tiempo que se propone la pertinencia del término criollo o criollista, para el estudio de la actividad musical conexa a determinados circuitos relacionales y de membrecía localizados en la Cuba decimonónica. Para ello ha resultado pertinente el enfoque de “complejo de performance” que propone Alejandro Madrid (2012) para el estudio posnacional del nacionalismo musical. Sem dúvida, a influência da narrativa de Alejo Carpentier foi significativa no contexto latino-americano, bem como sua ação legitimadora na criação de um tema nacionalista na Cuba do século XIX. No entanto, existem inúmeros fatores que contradizem a tese de Carpentier, como, por exemplo, a complexidade da sociedade cubana em meados do século e, portanto, a baixa probabilidade de formação de uma nação homogênea e unificada nesta fase, entre outras razões devido ao problema da colonização espanhola, à permanência da escravatura até 1886 e ao processo de crioulização e integração da população negra. O objetivo principal deste artigo é desconstruir o discurso sobre o cânone do nacionalismo musical na Cuba colonial a partir da agenda ideológica nacionalista/americanista de Carpentier em La música en Cuba (1988). Ao mesmo tempo, propõe-se a relevância do termo criollo ou criollista para o estudo da atividade musical relacionada com determinados circuitos relacionais e de pertença situados na Cuba do século XIX. Para o efeito, revela-se pertinente a abordagem do “complexo performativo” proposta por Alejandro Madrid (2012) para o estudo pós-nacional do nacionalismo musical. application/pdf http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/14529 10.34096/oidopensante.v12n2.14529 spa Facultad de Filosofía y Letras, Universidad de Buenos Aires http://revistascientificas.filo.uba.ar/index.php/oidopensante/article/view/14529/13517 Derechos de autor 2024 El oído pensante El oído pensante; Vol. 12 Núm. 2 (2024) El oído pensante; Vol 12 No 2 (2024) El oído pensante; v. 12 n. 2 (2024) 2250-7116 Alejo Carpentier musical nationalism 19th century Cuba Alejo Carpentier nacionalismo musical siglo XIX Cuba Alejo Carpentier nacionalismo musical século XIX Cuba From the Archive to the Invention of the Nationalist Myth in La música en Cuba: New Perspectives on Criollismo in 19th-Century Cuba Del archivo a la invención del mito nacionalista en La música en Cuba: nuevas perspectivas en torno al criollismo en el siglo XIX cubano Do arquivo à invenção do mito nacionalista em La música en Cuba: novas perspectivas sobre o criollismo na Cuba do século XIX info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion https://repositoriouba.sisbi.uba.ar/gsdl/cgi-bin/library.cgi?a=d&c=eloido&d=14529_oai |