Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940
Both Harlem and Panama were, in the early twentieth century, crossroads of the Caribbean. This essay traces the musical echoes of that fact, arguing that British West Indians had a central but often unrecognized role in the exchanges driving Black cultural innovation in the interwar metropoles. Hund...
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| Formato: | Artículo revista |
| Lenguaje: | Español |
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Facultad de Filosofía y Letras, Universidad de Buenos Aires
2022
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| Acceso en línea: | http://revistascientificas.filo.uba.ar/index.php/mora/article/view/12398 |
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I28-R259-article-123982023-12-04T17:54:49Z Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940 Los jeques del jazz en las fiestas por 25 centavos: Panamá y Harlem como cruces de caminos caribeños, circa 1910-1940 Putnam, Lara Altalef, Martina Harlem, Panama, Jazz, Music, Greater Caribbean, Race Harlem, Panamá, jazz, música, Gran Caribe, raza Both Harlem and Panama were, in the early twentieth century, crossroads of the Caribbean. This essay traces the musical echoes of that fact, arguing that British West Indians had a central but often unrecognized role in the exchanges driving Black cultural innovation in the interwar metropoles. Hundreds of thousands of British West Indians came to and through Panama at the start of the twentieth century, creating a Pan—Caribbean space where the rhythms of son, tango, mento, cumbia, and ragtime rang out. From there many would travel onward. The lives of Panama—born, New York—based performers like Vernon Andrade, Luis Russell, Teófilo Alfonso “Panama Al” Brown, and Estelle Bernier show how British West Indians shaped by the Greater Caribbean’s borderlands crossed boundaries within New York as well. Multilingual and multicultural, they moved easily within Harlem’s “Latin Quarter” of Puerto Ricans and other Spanish—speakers, helping to bring rhythms and styles from the Hispanic Caribbean to the Afro—American listening and dancing public. Stories of the working— class dance halls of 1920s Panama and of the Latin connections of British Caribbean performers in New York together point to tropical circuits of music and moves rarely recognized as part of the metropolitan Jazz Age. Harlem y Panamá fueron cruces de caminos a comienzos del siglo XX. Este ensayo rastrea los ecos musicales de esos entrecruzamientos y sostiene que los antillanos británicos tuvieron un papel central, pero con frecuencia no reconocido, en los intercambios que impulsaron la innovación cultural negra en las metrópolis del período de entreguerras. Cientos de miles de habitantes de las Antillas británicas llegaron a Panamá o la atravesaron a comienzos del siglo XX y crearon un espacio pancaribeño donde sonaban los ritmos del son, el tango, el mento, la cumbia y el ragtime. Muchos de esos migrantes continuaron sus viajes desde allí. Las vidas de artistas que nacieron en Panamá y vivieron en Nueva York como Vernon Andrade, Luis Russell, Teófilo Alfonso “Panamá Al” Brown y Estelle Bernier demuestran cómo los antillanos británicos formados por las fronteras del Gran Caribe también traspasaron límites en el interior de Nueva York. Eran multilingües y multiculturales y se movían con facilidad entre los puertorriqueños y otros hablantes de español del “Barrio Latino” de Harlem. Así, contribuyeron con la presentación de ritmos y estilos del Caribe español ante el público afroestadounidense que los escuchaba y bailaba. En diálogo, las historias sobre los salones de baile de la clase trabajadora de Panamá en la década de 1920 y los contactos latinos de los artistas antillanos británicos en Nueva York señalan circuitos tropicales de la música y de los pasos de baile que no suelen reconocerse como parte de la era del jazz metropolitano. Facultad de Filosofía y Letras, Universidad de Buenos Aires 2022-12-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion application/pdf http://revistascientificas.filo.uba.ar/index.php/mora/article/view/12398 10.34096/mora.n28.12398 Mora; Núm. 28 (2022) 1853-001X 0328-8773 spa http://revistascientificas.filo.uba.ar/index.php/mora/article/view/12398/11289 Derechos de autor 2022 Mora |
| institution |
Universidad de Buenos Aires |
| institution_str |
I-28 |
| repository_str |
R-259 |
| container_title_str |
Mora |
| language |
Español |
| format |
Artículo revista |
| topic |
Harlem, Panama, Jazz, Music, Greater Caribbean, Race Harlem, Panamá, jazz, música, Gran Caribe, raza |
| spellingShingle |
Harlem, Panama, Jazz, Music, Greater Caribbean, Race Harlem, Panamá, jazz, música, Gran Caribe, raza Putnam, Lara Altalef, Martina Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940 |
| topic_facet |
Harlem, Panama, Jazz, Music, Greater Caribbean, Race Harlem, Panamá, jazz, música, Gran Caribe, raza |
| author |
Putnam, Lara Altalef, Martina |
| author_facet |
Putnam, Lara Altalef, Martina |
| author_sort |
Putnam, Lara |
| title |
Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940 |
| title_short |
Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940 |
| title_full |
Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940 |
| title_fullStr |
Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940 |
| title_full_unstemmed |
Jazzing Sheiks at the 25 Cent Bram: Panama and Harlem as Caribbean Crossroads, circa 1910-1940 |
| title_sort |
jazzing sheiks at the 25 cent bram: panama and harlem as caribbean crossroads, circa 1910-1940 |
| description |
Both Harlem and Panama were, in the early twentieth century, crossroads of the Caribbean. This essay traces the musical echoes of that fact, arguing that British West Indians had a central but often unrecognized role in the exchanges driving Black cultural innovation in the interwar metropoles. Hundreds of thousands of British West Indians came to and through Panama at the start of the twentieth century, creating a Pan—Caribbean space where the rhythms of son, tango, mento, cumbia, and ragtime rang out. From there many would travel onward. The lives of Panama—born, New York—based performers like Vernon Andrade, Luis Russell, Teófilo Alfonso “Panama Al” Brown, and Estelle Bernier show how British West Indians shaped by the Greater Caribbean’s borderlands crossed boundaries within New York as well. Multilingual and multicultural, they moved easily within Harlem’s “Latin Quarter” of Puerto Ricans and other Spanish—speakers, helping to bring rhythms and styles from the Hispanic Caribbean to the Afro—American listening and dancing public. Stories of the working— class dance halls of 1920s Panama and of the Latin connections of British Caribbean performers in New York together point to tropical circuits of music and moves rarely recognized as part of the metropolitan Jazz Age.
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| publisher |
Facultad de Filosofía y Letras, Universidad de Buenos Aires |
| publishDate |
2022 |
| url |
http://revistascientificas.filo.uba.ar/index.php/mora/article/view/12398 |
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2023-06-27T21:15:39Z |
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2024-08-14T02:35:36Z |
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