By Martin Munro
"Long a taboo topic between critics, rhythm eventually takes heart degree during this book's impressive, wide-ranging exam of numerous black cultures around the New international. Martin Munro’s groundbreaking paintings strains the central—and contested—role of song in shaping identities, politics, social heritage, and inventive expression. beginning with enslaved African musicians, Munro takes us to Haiti, Trinidad, the French Caribbean, and to the civil rights period within the usa. alongside the best way, he highlights such figures as Toussaint Louverture, Jacques Roumain, Jean Price-Mars, The robust Sparrow, Aimé Césaire, Edouard Glissant, Joseph Zobel, Daniel Maximin, James Brown, and Amiri Baraka. Bringing to mild new connections between black cultures, Munro exhibits how rhythm has been either a continual marker of race in addition to a dynamic strength for switch at nearly each significant turning aspect in black New international history."
“A compelling interdisciplinary exploration of rhythm and sound within the circum-Caribbean.”
(Kaima L. Glover Oxford magazine 2012-07-03)
“Examining Black track within the western hemisphere due to the fact slavery, this publication makes transparent the fundamental function it has performed in tradition, politics and social change.”
From the interior Flap
"Munro argues in an educated and ingenious approach that larger awareness could be paid to the routine sonic components of black cultures within the new global. varied Drummers offers profound insights into the significance of rhythm as a marker of resistance and a dynamic side of way of life throughout Caribbean literatures and in African American music."—J. Michael sprint, ny University
"Munro takes us on a desirable trip throughout the tune of poetry and the poetry of tune, fantastically tying jointly the cultures and literary texts of a number of Caribbean societies."—Laurent Dubois, writer of football Empire: the realm Cup and the way forward for France
About the Author
Martin Munro is affiliate Professor of French and Francophone Literatures at Florida nation collage.
Read or Download Different Drummers: Rhythm and Race in the Americas (Music of the African Diaspora) PDF
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Additional resources for Different Drummers: Rhythm and Race in the Americas (Music of the African Diaspora)
That is, the women were thrown into a kind of “delirium” by the dance, so that a foreign spectator might believe that dance was the pleasure that “holds the greatest sway over their souls” (1: 41). It seems that, in the Saint-Domingue that Moreau described and across the society’s highly stratified groups, races, and colors, there was a shared passion for rhythm, dance, and abandon. For different reasons and in different ways, dancing, singing, and music were used as means of temporary escape and release.
It was through dance and rhythm—chiefly the language of the drum—that slaves began to (re)form an idea of themselves, an identity other than, if not entirely different to, that of the deadening machine of the plantation. As Gérard Barthélemy states, “music through dancing and especially rhythmic motions were to constitute . . the only means of socialization since rhythm allows the emergence of collective expression while foregoing any pre-established structure” (quoted in Lahens 1998, 159). Implicit in Barthélemy’s argument is the idea that the rhythm of the dances was completely divorced from the everyday working existence of the slaves.
Events in SaintDomingue influenced Napoleon Bonaparte’s decisions first to obtain Louisiana’s retrocession from Spain in 1800 and then to sell it three years later to the United States. Indeed, Saint-Dominguan refugees played an important role in defending New Orleans in 1814 against the British attack at the end of the War of 1812 (Lachance 2001, 221). The decline in sugar exports from Saint-Domingue in the 1790s was an important factor in many Louisiana planters’ conversion from tobacco and indigo production to sugar cane (Lachance 2001, 209).