By Gage Averill
The background of Haiti in the course of the 20th century has been marked via 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 prepared cultural and old expertise, Gage Averill indicates that Haiti's bright and expressive tune 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 iteration, and roots tune. He examines the advanced interplay of track with strength in contexts equivalent to honorific rituals, subsidized road celebrations, Carnival, and social activities that span the political spectrum.
With firsthand debts via musicians, pictures, tune texts, and ethnographic descriptions, this e-book explores the profound manifestations of energy and track within the day by day efforts of standard 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)
48 The underdevelopment of the Haitian music industry is partly a function of the dependent nature of the economy as a whole within the global political economy, but it also reflects peculiar features of Haitian capitalism. Much Haitian economic activity revolves around the import-export trade and achte-vevann (buying goods and reselling them at a slight profit to others who turn around and do the same thing). These practices require minimum investment and produce a quick, if only incremental, return.
Engages in a tripartition of the interpretive process in expressive culture: poiesis (processes of creation), truce (material product), and esthesis (perception, apprehension, interpretation). One strength of this model is that it stresses the separation of composerly intention from readerly interpretation. Given that this bears an at-least-superficial resemblance to an economic model of production and consumption linked by commodities (material traces of production), I believe that Nattiez’s trifurcation of the semiotic process provides a means of linking the political economy of expressive culture to analysis of the symbolic language and activity of expressive culture.
Government functionaries, bureaucrats, and ministerial level appointees are often accorded their own class subgroup (of the middle class) in Haiti, the klas politik, in part because the government has such a large payroll and in part because they constitute a social group for themselves, striving to protect their self-interests by maintaining and expanding the parasitic state. The terms for the masses (pep or m a s ) cover rural peasants, abitan, urban proletaria, klas ouvriye (urban working class), and structurally unemployed slum dwellers, lounpen (from lumpen proletariat).
A Day for the Hunter, a Day for the Prey: Popular Music and Power in Haiti (Chicago Studies in Ethnomusicology) by Gage Averill