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Fiesta de Diez Pesos Music and Gay Identity in Special Period Cuba 1st Edition by Moshe Morad ISBN 1315582309 9781315582306

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Fiesta de Diez Pesos Music and Gay Identity in Special Period Cuba 1st Edition Moshe Morad Digital Instant Download

Author(s): Moshe Morad
ISBN(s): 9781315582306, 1315582309
Edition: 1
File Details: PDF, 2.58 MB
Year: 2015
Language: english
SKU: EB-50211720 Category: Tag:

Fiesta de Diez Pesos Music and Gay Identity in Special Period Cuba 1st Edition by Moshe Morad – Ebook PDF Instant Download/Delivery: 1315582309, 9781315582306
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ISBN 10: 1315582309 
ISBN 13: 9781315582306
Author: Moshe Morad

The ‘Special Period’ in Cuba was an extended era of economic depression starting in the early 1990s, characterized by the collapse of revolutionary values and social norms, and a way of life conducted by improvised solutions for survival, including hustling and sex-work. During this time there developed a thriving, though constantly harassed and destabilized, clandestine gay scene (known as the ‘ambiente’). In the course of eight visits between 1995 and 2007, the last dozen years of Fidel Castro’s reign, Moshe Morad became absorbed in Havana’s gay scene, where he created a wide social network, attended numerous secret gatherings-from clandestine parties to religious rituals-and observed patterns of behavior and communication. He discovered the role of music in this scene as a marker of identity, a source of queer codifications and identifications, a medium of interaction, an outlet for emotion and a way to escape from a reality of scarcity, oppression and despair. Morad identified and conducted his research in different types of ‘musical space,’ from illegal clandestine parties held in changing locations, to ballet halls, drag-show bars, private living-rooms and kitchens and santería religious ceremonies. In this important study, the first on the subject, he argues that music plays a central role in providing the physical, emotional, and conceptual spaces which constitute this scene and in the formation of a new hybrid ‘gay identity’ in Special-Period Cuba.

Fiesta de Diez Pesos Music and Gay Identity in Special Period Cuba 1st Table of contents:

Part I: Understanding … (Setting the Scene)

  1. Understanding Cuban Homosexualities: From “maricón” to “Gay”

    • The Special Period and the Emergence of “Gay Identity” in Cuba

    • Fresa y Chocolate

    • “The Original Sin” and Gay Themes in Novísima Trova

  2. “Swing to Sunshine in Gay Havana”: The Capital’s Musicscape, Ethnoscape, and Homoscape

    • Havana’s Musicscape

    • Havana’s Ethnoscape and Homoscape

      • Race/Color

      • Internal Migration

      • Tourists/Extranjeros

      • Jineterismo and “Music Jineterismo”

    • Levels of Privacy

      • The City as a Private Space

Part II: Dance Music and the Fiestas

  1. The Fiestas de Diez Pesos Scene

    • My First Fiesta de Diez Pesos

    • Hanging Out at the Malecón

    • The Way to the Fiesta

    • Finally There

    • Two Kinds of Fiestas

      • The Semi-Public Fiestas

      • The Private Home Fiestas

    • Changes in Havana’s Gay Fiestas Scene

  2. “Watch How the Locas Do the Despelote!”: Dance Music Genres and Their Queer Appropriation

    • “Gay Salsa”: Queering the Casino Dancing Style

    • Queer Timba: “Watch How the Locas Do the Despelote”

    • “Re-Gay-Tón”: Queering Reggaetón

      • Backside-to-Crotch Dancing

      • Reggaetón Lyrics: Assigning New Meanings

    • House Music: Gay and Internacional

  3. “Dancing Identity”: Social and Musical Analysis of the Fiestas Scene

    • Gay Dance Music, Capitalism, and the “Fantasy of Liberation”

    • Fiesta Behavior as Ritual Behavior

    • Fiesta-Psychology

    • The “Gay Cuban Dancing Body” and the Eroticization of the Dance Floor

    • Queer Reading of Musical Aspects of the Popular Genres

      • Tempo and Rhythm: Speed, Intensity, Physicality

      • Repetitiveness and Cyclicity

      • Reggaetón a lo Cubano: Hybrid, “Bilingual,” and Bi-Rhythmical

    • Musical Narrative as a Sexual Act: Multiple Climaxes

Conclusion of Part II: Dance Music as a Marker of Gay Identity in Special Period Cuba

Part III: “El Chow”: Performance, Performativity, and Audience

  1. Performance, Performativity, and Camp: A Brief Introduction to Part III

    • Camp: “It’s Good Because It’s Awful”

  2. Drag Shows: Glamour, Empowerment, and Resistance

    • Bar de las Estrellas

    • The Drag Scene in Havana

    • Home and CDR Drag Fiestas

    • Drag Politics and Philosophy: Resisting the Heterosexual Binary or Reaffirming It?

    • The Power of the Diva

    • Collective Identity and Acceptance

    • The Role of Music in Havana’s Drag Shows: Identification, Resistance, and Escapism

  3. El Ballet Nacional: “The Most Obvious Discreet Gay Space in Havana”

    • Ballet in Cuba

    • Gaydar and “Performance” in the Audience

    • Escapism

  4. Changó versus Santa Barbara: Santería Ritual Performance as a Gay Space

    • Discovering “Gay Santería”

    • A “Gay” Toque de Santo

    • Il Rito del Cuchillo (The Ceremony of the Knife)

    • Music for the Orishas

    • Terminology: Homosexuals, Gays, EPH

      • Transgenders in Santería

      • Femininity and “The Fag Religion”

    • EPH in Santería Performance

    • “Mi Nueva Familia”: Alternative Kinship in Santería

    • Secrecy, Deviance, and Marginalization

    • Sensuality and Homoeroticism in Ritual Dances

    • Spirit Possession as a (Homo)Sexual Metaphor

    • Controversial Queer Reading of Batá Drumming Patterns

    • Yemayá and Changó: “The Protectors of Gays”

  5. ¡Yo Soy el Bolero!: Queer Appropriation and Identification in the Kitchen

    • Bolero’s Ambiguous Identity

    • The “Gay Appeal” of Bolero

    • “Like Good Wine, the Older the Better”

    • “Kitchen Bolero”

    • “Bolero Mode”: Description of a Bolero Fiesta

    • An Imagined Audience

    • Bolero Lyrics: “Like a Knife Stuck in Your Heart”

    • Gender Ambiguity in Bolero Lyrics

    • Central Themes in Bolero Lyrics

      • Danger, Suffering, Betrayal, and Lying

      • Being Prohibited

    • “Bolero State-of-Mind”: Bolero Psychology

      • Melancholia and Nostalgia

      • Hysteria, Borders, and Liminality

    • Musical Characteristics of Bolero Reflecting Instability, Melancholia, and Camp

      • Melancholy in Rhythm

      • Exaggerated Tension and Release: Musical Camp

    • The Bolero Divas

      • Olga Guillot: “La Vida Es Una Mentira”

      • La Lupe: A Woman on the Verge of a Nervous Breakdown

      • Bola de Nieve: “I Am a Sociable Negro, Intellectual, and Chic”

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Tags: Moshe Morad, Diez Pesos, Gay Identity