Afro-Latin@s in Movement pp 171-194 | Cite as
Listening to Afro-Latinidad: The Sonic Archive of Olú Clemente
Chapter
First Online:
Abstract
Herrera’s chapter provides a close reading of the “sonic archive” of the musical Olú Clemente: The Philosopher of Baseball by renowned Nuyorican poets Miguel Algarín and Tato Laviera. She argues that reading the “sonic archive”—that is, the sound recording of the one-time performance in Central Park—as opposed to merely the playbook offers us new ways of understanding how Afro-Latinidad is represented and performed in the play.
Keywords
York City Audio Recording Sound Recording Spiritual Possession Rican Study
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
Bibliography
- M. Algarín, L. Griffith, Action (Touchstone, New York, 1997)Google Scholar
- M. Algarín, J.A. Laviera, Olú Clemente: The Philosopher of Baseball. New York Public Library, Performing Arts-Rodgers and Hammerstein Archives, Joseph Papp New York Shakespeare Recording Collection, LT-10 10282. Recorded 30 Aug 1973, sound tape reelsGoogle Scholar
- M. Algarín, Introduction: Nuyorican language, in Nuyorican Poetry: An Anthology of Words and Feelings, ed. by M. Algarín, M. Piñero (William Morrow, New York, 1975)Google Scholar
- M. Algarín, Mongo Affairs (The East Village Press, New York, 1978)Google Scholar
- S. Alvarez, W. Luis, The AmeRícan Poet: Essays on the Work of Tato Laviera (Center for Puerto Rican Studies, New York, 2014)Google Scholar
- R. Beltrán, There Was Never No Tomorrow, Nuyorican Pedro Pietri in His Own Words. La Prensa San Diego, 6 Feb 2004. http://laprensa-sandiego.org/archieve/february06-04/pedro.htm. Accessed 3 Oct 2014
- M. Berríos-Miranda, Salsa as an expressive liberation. CENTRO: Journal of the Center for Puerto Rican Studies 16(4), 159–173 (2004)Google Scholar
- F. Cortes, A. Falcón, J. Flores, The cultural expression of Puerto Ricans in New York: A theoretical perspective and critical review. Latin American Perspectives. 3(1), 117–152 (1976)Google Scholar
- F.L. Cruz, La música folklórica de Puerto Rico (Troutman Press, Sharon, 1967)Google Scholar
- J. Duany, The Puerto Rican Nation on the Move: Identities on the Island and in the United States (University of North Carolina Press, Chapel Hill, 2002)Google Scholar
- H. Epstein, Joe Papp: An American Life (De Capo Press, New York, 1996)Google Scholar
- L.A. Figueroa, Sugar, Slavery, and Freedom in Nineteenth-Century Puerto Rico (University of North Carolina Press, Chapel Hill, 2005)Google Scholar
- J. Flores, From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity (Columbia University Press, New York, 2000)Google Scholar
- J. Flores, The Diaspora Strikes Back: Caribeño Tales of Learning and Turning (Routledge, New York, 2009)Google Scholar
- R. Grosfoguel, C. Georás, The racialization of Latino Caribbean immigrants in the New York Metropolitan area. CENTRO: Journal of the Center for Puerto Rican Studies 8(1 & 2), 190–201 (1996)Google Scholar
- C.D. Hernández, Interview with Miguel Algarín. in Puerto Rican Voices: Interview with Writer (Prager, Westport, 1997), pp. 33–48Google Scholar
- N. Kanellos, J.A. Huerta, Nuevos Pasos: Chicano and Puerto Rican Drama (Revisita Chicano-Riqueña, Gary, Indiana, 1989)Google Scholar
- B. Jottar, Central Park Rumba: Nuyorican identity and the return to African roots. CENTRO Journal of the Center for Puerto Rican Studies 23(1), 6–29 (2011)Google Scholar
- T. Laviera, The Salsa of Bethesda Fountain. in La Carreta Made a U-Turn (Arte Público Press, Houston, 1992), pp. 67–68Google Scholar
- T. Laviera, S. Alvarez, Tato in his own words: A collaborative testimonio, in AmeRícan Poet: Essays on the Works of Tato Laviera, ed. by S. Alvarez, W. Luis (Center for Puerto Rican Studies, New York, 2014), pp. 288–326Google Scholar
- D. Maraniss, Clemente: The Passion and Grace of Baseball’s Last Hero (Simon & Schuster, New York, 2007)Google Scholar
- F. Mill, Seeing ethnicity: The impact of race and class on the critical reception of Miguel Piñero’s Short eyes, in Captive Audience: Prison and Captivity in Contemporary Theater, ed. by T. Fahy, K. King (Routledge, New York, 2003), pp. 41–66Google Scholar
- J. Ortiz, Clemente’s impact Wanes in Puerto Rico 40 years after his death. USA Today, 31 Dec 2012. http://www.usatoday.com/story/sports/mlb/2012/12/27/roberto-clemente-40th-anniversary-death-plane-crash-puerto-rico-pirates-humanitarian/1794453. Accessed 13 June 2013
- J. Papp, New York Shakespeare Festival Collection, T-Mss 1993–028 (Billy Rose Theatre Division, The New York Public Library for the Performing Arts)Google Scholar
- R.Z. Rivera, New York Ricans from the Hip Hop Zone (Palgrave Macmillan, New York, 2003)CrossRefGoogle Scholar
- P.R. Rivera-Rideau, “Cocolos Modernos”: Salsa, Reggaetón, and Puerto Rico’s cultural politics of blackness. Latin American and Caribbean Ethnic Studies 8(1), 1–19 (2013)Google Scholar
- P. Rivera-Rideau, From Carolina to Loíza: Race, place and Puerto Rican racial democracy. Identities: Glob Stud Cult Power 1–17 (2013). doi: 10.1080/1070289X.2013.842476. Accessed 20 Oct 2014
- M.J. Román, J. Flores, The Afro-Latin@ Reader: History and Culture in the United States (Duke University Press, Durham/London, 2010)Google Scholar
- T. Tenopia, Latinopia Literature Arte Público Press. Latinopia. 1 May 2011. http://latinopia.com/latino-literature/latinopia-literature-arte-publico-press. Accessed 4 May 2013
- The New York Times, Clemente, Pirates’ star, dies in crash of plane carrying aid to Nicaragua. The New York Times, On This Day Obituary, 2 Jan 1973. http://www.nytimes.com/learning/general/onthisday/bday/0818.html. Accessed 20 May 2104
- D. Walcott, The sea is history. in Collected Poems: 1948–1984 (Farrar, Strauss & Giroux, New York, 1984), pp. 364–367Google Scholar
Copyright information
© The Editor(s) (if applicable) and The Author(s) 2016