In Music and Revolution Robin Moore, professor of music history at the University of Texas, presents a comprehensive survey of cultural policymaking in Cuba from the early years of the revolution, the “quinquenio gris” (from 1969 to 1973), the more optimistic 1980s, and the special period in the 1990s through to the present day. He looks at the ideologies behind the policies, and explores how issues of race and religion, alongside cultural theories of socialism, Marxism, and nationalism, have impacted on cultural policy. After a chronological overview of cultural changes from the 1950s onward, Moore turns his attention to various case studies. Here, I shall focus on his discussion of dance and Afro-Cuban “Folkloric” musics, although Moore also explores Nueva Trova, Salsa and Timba to illustrate the effects of various policies on Cuban musicians themselves. As he states in his...
Cultural Policy and Music Making in Revolutionary Cuba
SUE MILLER IS A FLUTE PLAYER AND MUSICAL DIRECTOR OF CHARANGA DEL NORTE. SHE IS CURRENTLY STUDYING FOR A PHD IN CUBAN CHARANGA PERFORMANCE AT THE UNIVERSITY OF LEEDS, UK. HER PUBLICATIONS INCLUDE ARTICLES WRITTEN FOR THE BRITISH FLUTE SOCIETY MAGAZINE PAN ON THE CUBAN CHARANGA, THE CUBAN FLUTE STYLE OF IMPROVISATION, AND INTERVIEWS WITH VETERAN CUBAN FLUTE PLAYERS RICHARD EGÜES AND MELQUIADES FUNDORA.
Sue Miller; Cultural Policy and Music Making in Revolutionary Cuba. Cultural Politics 1 July 2007; 3 (2): 265–268. doi: https://doi.org/10.2752/174321907X194084
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