Parading Brazil through New Orleans Brazilian Immigrant Interaction with Casa Samba
Gibson, Annie McNeill
Parading Brazil through New Orleans Brazilian Immigrant Interaction with Casa Samba / McNeill Gibson, Annie .-- Austin, TX : University of Texas Press, , 2013:
Latin American Music Review = Revista de Música Latino Americana -- Vol. 34, núm. 1,spring-summer 2013, p. 1
RESUMEN: In this article I explore how Casa Samba , the oldest and most estabished cultural organization representing Brazilian culture in New Orleans, performs global images of Bazil on the local stage of New Orleans. I explore how the image of Brazil projected by Casa Samba performanced inevitably becomes mediated through a New Orleanian worldview in what direction Curtis Pierre terms as " Amerizilian" experience. I also examine Brezilian immigrants´ relationship, or lack thereof , to Casa Samba. Brazilian immigrants who relocated to New Orleans after Hurricane Katerina to work in construction are rarely performers with Casa Samba, as they tend to come from areas of Brazil where samba is not representative of local identity. I argue, however, that whether or not they participate directly in Casa Samba as members, Casa Samba is crucial to the construction of a Brazilian identity in New Orleans.
Parading Brazil through New Orleans Brazilian Immigrant Interaction with Casa Samba / McNeill Gibson, Annie .-- Austin, TX : University of Texas Press, , 2013:
Latin American Music Review = Revista de Música Latino Americana -- Vol. 34, núm. 1,spring-summer 2013, p. 1
RESUMEN: In this article I explore how Casa Samba , the oldest and most estabished cultural organization representing Brazilian culture in New Orleans, performs global images of Bazil on the local stage of New Orleans. I explore how the image of Brazil projected by Casa Samba performanced inevitably becomes mediated through a New Orleanian worldview in what direction Curtis Pierre terms as " Amerizilian" experience. I also examine Brezilian immigrants´ relationship, or lack thereof , to Casa Samba. Brazilian immigrants who relocated to New Orleans after Hurricane Katerina to work in construction are rarely performers with Casa Samba, as they tend to come from areas of Brazil where samba is not representative of local identity. I argue, however, that whether or not they participate directly in Casa Samba as members, Casa Samba is crucial to the construction of a Brazilian identity in New Orleans.