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Discrepant Creolizations: Music and the Limits of Hospitality

Discrepant Creolizations: Music and the Limits of Hospitality

Chapter:
(p.89) Three Discrepant Creolizations: Music and the Limits of Hospitality
Source:
Creolized Aurality
Author(s):
Jérôme Camal
Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226631806.003.0004

Through a study of Guadeloupean musicians who had migrated to Paris in the 1970s, this chapter highlights how gwoka “homed” transnational aesthetics just as Guadeloupeans were involved in a double act of fleeing and homing in the wake of BUMIDOM: literally fleeing the economic downturn that accompanied the collapse of the sugar industry in the Antilles and metaphorically fleeing the Republic that had never truly integrated them; homing in the literal sense of creating a home for themselves on the European continent, but also in the metaphoric sense of “homing” their political subjectivity, making a place for themselves, within France's (post)colonial space. At a moment when the neocolonial effects of departmentalization became painfully evident and the separatist movement reached its apogee, gwoka became a vehicle through which Guadeloupean negotiated their cultural citizenship. In this context, “minor transnationalism”–transnational connections between minoritized communities within contemporary empires–served to expand a Creole imaginary past the confine of the Caribbean. Juxtaposing the music of Guy Konket and of the group Tumblack, this chapter illustrates discrepant creolizations that point to the irony and the ambiguous ethics that accompanied gwoka's performance as a postcolonial aurality, caught in the tension between nationalism, cosmopolitanism, and exoticism.

Keywords:   creolization, minor transnationalism, cosmopolitanism, exoticism, BUMIDOM, hospitality, cultural citizenship

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