Global in scope and multidisciplinary in technique, Creolization as Cultural Creativity explores the expressive kinds and performances that come into being while cultures stumble upon each other. Creolization is gifted as a robust marker of id within the postcolonial Creole societies of Latin the United States, the Caribbean, and the southwest Indian Ocean sector, in addition to a common method that may ensue anyplace cultures come into contact.
An impressive variety of cultures from Haiti, Martinique, Guadeloupe, the southern usa, Trinidad and Tobago, Madagascar, Mauritius, Seychelles, Réunion, Puerto Rico, Argentina, Suriname, Jamaica, and Sierra Leone are mentioned in those essays.
Essayists deal with theoretical dimensions of creolization and current in-depth box experiences. issues contain diversifications of the Gombe drum over the process its migration from Jamaica to West Africa; makes use of of “ritual piracy” serious about the appropriation of Catholic symbols through Puerto Rican brujos; the subversion of respectable tradition and authority via playful and combative use of “creole speak” in Argentine literature and verbal arts; the mislabeling and trivialization (“toy blindness”) of items appropriated via African americans within the American South; the strategic use of creole concepts between storytellers in the islands of the Indian Ocean; and the creolized personality of recent Orleans and its track. within the introductory essay the editors tackle either neighborhood and common dimensions of creolization and argue for the centrality of its expressive manifestations for creolization scholarship.
Creolization as Cultural Creativity attracts from the disciplines of folklore, anthropology, ethnomusicology, literary experiences, background, and fabric tradition reviews. members comprise Roger D. Abrahams, Robert Baron, Kenneth Bilby, Ana C. Cara, J. Michael sprint, gray Gundaker, Lee Haring, Raquel Romberg, Nick Spitzer, and John F. Szwed.
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