03757nam a22004815i 4500001001800000003000900018005001700027007001500044008004100059020003700100024003500137050001600172072001700188072002300205072001600228100008600244245011400330250001800444264007900462300006700541336002600608337002600634338003600660347002400696505031600720520180201036650002602838650003702864650002002901650001702921650002602938650003502964650001702999710003403016773002603050776003603076776003603112776003603148856004603184912001403230912001403244999001703258978-3-031-53692-2DE-He21320251030111816.0cr nn 008mamaa240412s2024    sz |    s    |||| 0|eng d  a97830315369229978-3-031-53692-27 a10.1007/978-3-031-53692-22doi 4aML3469-3543 7aAVGN2bicssc 7aMUS0290002bisacsh 7aAVLP2thema1 aBravo, Eva Silot.eauthor.4aut4http://id.loc.gov/vocabulary/relators/aut97507310aCuban Fusionh[electronic resource] :bThe Transnational Cuban Alternative Music Scene /cby Eva Silot Bravo.  a1st ed. 2024. 1aCham :bSpringer Nature Switzerland :bImprint: Palgrave Macmillan,c2024.  aXVIII, 181 p. 35 illus., 33 illus. in color.bonline resource.  atextbtxt2rdacontent  acomputerbc2rdamedia  aonline resourcebcr2rdacarrier  atext filebPDF2rda0 aChapter 1 Introduction -- Chapter 2 Towards a Post-National Cuban Imaginary: Theoretical and Historical Context -- Chapter 3 Cubanidad “in-between:” the Transnational Cuban Alternative Music Scene (TCAMS) -- Chapter 4 TCAMS and the Music Industry -- Chapter 5 Conclusions- Cuban Fusion Music across Borders.  a“An invaluable study of Cuban music making in diaspora.” —Robin D. Moore, Professor of Ethnomusicology, Butler School of Music, The University of Texas at Austin, USA “Silot Bravo's study thus provides a rare glimpse into a space where artists navigate between political constraints, fostering a global citizenship that goes beyond the rigid political lines often associated with Cuban studies.” —Greg Landau, Ph.D., Producer, Educator & Music Historian, USA “Drawing from decades of experience in diplomacy, music scholarship, and arts advocacy, Bravo's careful study of oft-neglected alternative artists is sure to challenge thinking surrounding what Cuban music sounds like and who gets to participate.” —Mike Levine, Assistant Professor in Musicology, Christopher Newport University, USA Surveying the impact of Cuba's economic crisis after the demise of the eastern socialist block, this book documents a relatively unexplored transnational network of collaborations among Cuban musicians that migrated to many different countries from the 1990s forward. The book’s main argument is that in light of the 1990s crisis in Cuba, new transnational and alternative narratives emerged, resulting in creative “in-between” spaces that reflect a post- socialist aesthetic condition. The manuscript also documents important developments in the Cuban jazz and fusion scenes outside the island in the last 20+ years. Eva Silot Bravo has a PhD in Cultural Studies, Spanish and Literatures from The University of Miami (FL, USA). She has taught at University of Miami, Barry University, Miami Dade Public School System, The Branson School in Ross, CA and currently at Oakland School for the Arts in Oakland, CA. In United Nations she represented Cuba and developing countries (G77). 0aPopular music.966807 0aEthnologyxLatin America.966136 0aCulture.959159 0aJazz.97507414aPopular Music.96680724aLatin American Culture.96614024aJazz.9750742 aSpringerLink (Online service)0 tSpringer Nature eBook08iPrinted edition:z978303153691508iPrinted edition:z978303153693908iPrinted edition:z978303153694640uhttps://doi.org/10.1007/978-3-031-53692-2  aZDB-2-LCM  aZDB-2-SXL  c59093d59093