¿Haití es aquí? El mar sin fronteras
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| Autor: | |
|---|---|
| Formato: | artículo original |
| Estado: | Versión publicada |
| Fecha de Publicación: | 2016 |
| Descripción: | This text proposes a reflection on the theories of culture and/or lit-erature originating in different Caribbean countries and their pres-ence in the continent’s literary and cultural studies. This panel, toldin broad strokes, aims to clarify the beautiful essay entitled La islaque se repite (The Repeating Island, 1998) by Cuban writer AntonioBenitez Rojo and, based on this reading, looks at the song Haití byCaetano Veloso and Gilberto Gil, originally recorded as part of therecord Tropicalia II in 1993.Benitez Rojo’s proposal brings to light elements found at the foundation of our culture marked by the presence of Africans and their traditions throughout the Americas. In each area and region, a different type of music and rhythm arose, but with the common characteristic of constituting the voice against tyranny. Practically all of the musical expressions of the Americas, including spirituals, sung in the churches of North America, jazz, blues, samba, son, tango, rumba, salsa, merengue, cumbia, etc., are related to the music and rhythm of the Africans from the very first moment they set foot on our continent. |
| País: | Portal de Revistas UNA |
| Institución: | Universidad Nacional de Costa Rica |
| Repositorio: | Portal de Revistas UNA |
| Lenguaje: | Español |
| OAI Identifier: | oai:ojs.www.una.ac.cr:article/8737 |
| Acceso en línea: | https://www.revistas.una.ac.cr/index.php/istmica/article/view/8737 |
| Access Level: | acceso abierto |
| Palabra clave: | Caribbean Culture leterature Haití blackness cultura caribeña literatura negritud |