Reference no: EM131708426
Instructions:
Answer any TWO (2) of the four (4) essay questions. Answer each partof the question. Incorporate evidence from the assigned readings (at least 3 citations for EACH essay) as well as your own critical analysis and interpretation into your answer for the question.
EACH ESSAY should be at least three (3) pages and no more than four (4) pages in length. All essays must be typed, double spaced, and 12 pt. Times New Roman font.
Citations must be done in parentheses after the referenced text and must include the author and page number. For example (Krauze 54). Only use course readings for the essay. No outside books, articles, or other materials.
Books names: McCann, Bryan. Hello Brazil: Popular Music in the Making of Modern Brazil. Durham, N.C.: Duke University Press, 2004
Moore, Robin D. Music and Revolution: Cultural Change in Socialist Cuba. Berkeley: University of California Press, 2006.
The questions will be centered on Fernando Ortiz, The McCann Book (Brazil), and the Moore Book (Cuba)
Students should pay specific attention to the following:
DorivalCaymmi
Luiz Gonzaga
Fernando Ortiz
Gilberto Freyre
Getulio Vargas
Key Concepts and Themes
- Nordestino identity (Brazil)
- The Estado Novo and populism in Brazil (Getulio Vargas)
- Development of Latin American nationalism in opposition to the United States.
- Evolution of Cuban concept of national identity after 1959 (Castro Cuba)
- Centrality of music in both national projects in Brazil and Cuba.
- The role of the United States, whether politically, economically, or commercially in shaping the musical narratives of Cuba and Brazil.
- Incorporation of working classes into national narrative
1. DorivalCaymmi and Luiz Gonzaga are both known for creating and representing Bahian and nordestino (Northeastern) identities, respectively. On what stereotypes were these identities largely based?
How did they merge with literary movements from their respective regions? And how were these distinct identities able to resonate and gain popularity within a Brazil in which Vargas and the Estado Novo were attempting to do away with regionalism and unite Brazil politically, economically, and culturally?
2. How do the rise in the popularity of samba in Getulio Vargas' Brazil and the increased importance of culture (music and the arts) during the period following the Cuban Revolution highlight the complexities of creating a modern, industrial society out of societies that are racially and ethnically diverse?
How were leaders in both nations able to build a national consensus for their cultural policies? What tactics did each nation use to get its citizens to embrace these new national agendas?
3. The creation of national cultures in twentieth century Latin America was in many ways a departure from previous attempts in the nineteenth century to model their societies on Western Europe and the United States. In the cases of both Brazil and Cuba, why did these nations begin to look inward to develop their national character?
Brazil in particular was very adamant about being different from its neighbors. What was happening in the larger world that made these nations reject modern manifestations of traditional western culture (capitalism, consumerism)? Pay specific attention to the rise of the United States as an international power and the post WWII reality of the Cold War.
4. What was the Cuban problem with the musical genre of salsa? How does the rise in popularity of the music in the United States and its ultimate international popularity highlight the complexities of United States - Cuban relations economically, politically, and culturally?