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Download Manuel Barrueco: The Music of Ernesto Lecuona for Solo by Manuel Barrueco (Arranger) PDF

By Manuel Barrueco (Arranger)

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Although the practice of praise singing or praise naming is not new, it has generally focused on praising others rather than self-commendation. The self-praises of a maskanda might be understood as a specifically spatial practice, de Certeau (1988) argues, a strategy for delimiting oneâ s own place and for inscribing the individual into the moral and cultural topography of strangers that characterizes the urban environment. It is through his self-praises that Thami is able to articulate the superiority of his performance when compared with that of other maskanda guitarists, and it is through these words that he becomes known and remembered in his community.

In addition to what it tells us about gumboot dance, this documentary < previous page page_152 next page > < previous page page_153 next page > Page 153 provides a lens through which we can see how local performance is remade for a transnational audience. In the spirit of the documentary portion of the gumboots video, I have inserted segments of information from the video into my own ethnographic and historical narrative on gumboot dance as I learned about it from my teacher Blanket Mkhize over a period of almost two decades.

Previous page page_157 next page > < previous page page_158 next page > Page 158 The gumboot style of dance draws on a variety of sources: Bhaca tradition; the various missionary heritages, such as that of the German missionaries; dances of sailors who visited the port city of Durban, such as Russian folk dance; the popular social dances that accompanied jazz music in the 1930s and 1940s, such as the jitterbug; and most clearly, tap dance, as performed by the visiting minstrel groups of the nineteenth century and popularized through films of Fred Astaire and Gene Kelley in the mid-twentieth century.

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