
Contents
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Havana in New York's Transcultural “Black City” Havana in New York's Transcultural “Black City”
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The Colored Societies and the Lettered Man of the Colored Race The Colored Societies and the Lettered Man of the Colored Race
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The “Blues Poet” Finds the “Heartbeat and Songbeat of Africa” in Havana The “Blues Poet” Finds the “Heartbeat and Songbeat of Africa” in Havana
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Audience Reception and the Harlem-Havana Link Audience Reception and the Harlem-Havana Link
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Good Night, Blues and Son; Good Morning, Revolution Good Night, Blues and Son; Good Morning, Revolution
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Conclusion Conclusion
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Three Blues and Son from Harlem to Havana
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Published:May 2010
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Abstract
This chapter continues the theme of cross-cultural interaction by underscoring the role of promoters and audiences in the forging of the connections between the Harlem Renaissance and the afrocubanismo movement. It notes that writers, musicians, and artists took up previously denigrated cultural forms, in both Cuba and the United States, such as the blues, spirituals, rumba, and the son, to create a new diasporic cultural aesthetic. The chapter interprets the immense traffic between these cultural movements as evidence of diasporization, rather than as mere background information for two distinct national movements. It notes that even when the writers and artists themselves denied or downplayed these cultural exchanges, the audiences and promoters of their work actively linked the two movements together. The chapter observes that the interactions between promoters, audiences, and artists inaugurated new understandings of Afro-diasporic cultures that celebrated, rather than rejected, the expressive cultures of the black working classes in both countries.
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