Download A Day for the Hunter, a Day for the Prey: Popular Music and by Gage Averill PDF

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By Gage Averill

The heritage of Haiti during the 20th century has been marked by way of oppression by the hands of colonial and dictatorial overlords. yet set by contrast "day for the hunter" has been a "day for the prey," a background of resistance, and occasionally of triumph. With willing cultural and ancient information, Gage Averill exhibits that Haiti's shiny and expressive track has been probably the most hugely charged tools during this struggle—one during which strength, politics, and resistance are inextricably fused.

Averill explores such different genres as Haitian jazz, troubadour traditions, Vodou-jazz, konpa, mini-djaz, new new release, and roots track. He examines the advanced interplay of tune with strength in contexts corresponding to honorific rituals, backed road celebrations, Carnival, and social events that span the political spectrum.

With firsthand debts via musicians, images, track texts, and ethnographic descriptions, this ebook explores the profound manifestations of strength and track within the daily efforts of normal Haitians to upward push above political repression.

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Additional info for A Day for the Hunter, a Day for the Prey: Popular Music and Power in Haiti (Chicago Studies in Ethnomusicology)

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Euphemisms, double entendres, metaphors of various kinds, coded messages, homonymic puns, and allusions are all deployed to thicken the play of the text. These tropes of indirect signification increasingly make their way 18 Chapter One into urban popular music between the 1930s and the 1990s from their “home” in traditional rural and lower-class forms. ^^ Betiz may deal with sex acts, especially intercourse or anal intercourse, or dwell playfully on male and female genitalia. The goal may be to humiliate a named or implied subject, but often the joy in public, collective transgressions of upper-class and Catholic speech norms is reward enough.

The poor and powerless in Haiti have many names for the wealthy and powerful, the most common of which include gwo neg (big guy, translated by me as “big shot”) and its synonyms, gwo zotobre and gwo zouzoun. These terms may identify someone who has an exaggerated sense of self-importance as well as someone of elevated status. For the purposes of precision throughout this book, I will use the alternate tripartite distinction: lelit/boujwazi, klas mwayen, and p e p as a starting point for further distinctions.

The term koudyay comes from the French coup de j a d e , a spontaneous bursting forth, and was used to label celebrations of military victories, coronations, and political successes. Characterized by mass exuberance, a koudyay in contemporary Haiti is a “spontaneous” celebration in the streets, usually sponsored by an important person, party, or institution when an atmosphere of delirious revelry is desired. Various festive elements (food, drink, music) are supplied by the patron, and the crowds supply the spirit.

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