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

By Gage Averill

The historical past of Haiti in the course of the 20th century has been marked by way of oppression by the hands of colonial and dictatorial overlords. yet set in contrast "day for the hunter" has been a "day for the prey," a historical past of resistance, and infrequently of triumph. With prepared cultural and old expertise, Gage Averill exhibits that Haiti's bright and expressive track has been probably the most hugely charged tools during this struggle—one during which energy, politics, and resistance are inextricably fused.

Averill explores such varied genres as Haitian jazz, troubadour traditions, Vodou-jazz, konpa, mini-djaz, new new release, and roots track. He examines the advanced interplay of song with energy in contexts reminiscent of honorific rituals, backed road celebrations, Carnival, and social activities that span the political spectrum.

With firsthand money owed via musicians, pictures, tune texts, and ethnographic descriptions, this booklet explores the profound manifestations of strength and track within the day by day efforts of normal Haitians to upward thrust above political repression.

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

Example text

Koudyay-s are sponsored by those in power to show support for a leader on a tour, to intimidate opponents, to take people’s minds off problems, to demonstrate electoral or grass-roots strength, and to solidify support. A bandleader summarized one of these strategies: “When there’s a problem, the political problem for example, everbody is concerned with politics, but if the rulers or the head of the country would like to remove something from the consciousness of the people, they offer the people .

In this Introduction, I concentrate on developing a grounded framework for the operation and circulation of power in Haiti (grounded, that is, in the perceptions, terminologies, and discourses of Haitians) and a grammar for the musical signification of power. Toward a Grounded Haitian Politics Before proceeding to elaborate a framework for musicopolitical signification in Haiti, I want to look at the way power and politics are played out in Haiti and the way they are perceived and conceived, beginning with issues of class and race.

AID workers mentioned earlier, I have heard the term mawonaj used many times to refer to the unspectacular, but very patient and often-successful, tactics used by the politically and economically powerless in Haiti to carve out a space for autonomous existence and to undermine the strategies of those with power and money, be they the Haitian state, foreign aid donors, or employers. Leftist guerrillas fighting the dictatorship of Frangois Duvalier in the 1960s used the term Introduction 9 mawonaj interchangeably with guerrilla warfare.

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