Creolized Aurality
Guadeloupean Gwoka and Postcolonial Politics
256 pages
|
4 halftones, 7 line drawings
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6 x 9
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© 2019
- Contents
- Review Quotes
Table of Contents

Contents
List of Abbreviations
List of Online Resources
List of Online Resources
Introduction / Listening for (Post)colonial Entanglements
One / The Poetics of Colonial Aurality
Two / Building an Anticolonial Aurality: Gwoka modènn as Counterpoetics
Three / Discrepant Creolizations: Music and the Limits of Hospitality
Four / Diasporic or Creole Aurality? Aesthetics and Politics across the Abyss
Five / Postnational Aurality: Institutional Detour and the Creolization of Sovereignty
Coda / Bigidi
One / The Poetics of Colonial Aurality
Two / Building an Anticolonial Aurality: Gwoka modènn as Counterpoetics
Three / Discrepant Creolizations: Music and the Limits of Hospitality
Four / Diasporic or Creole Aurality? Aesthetics and Politics across the Abyss
Five / Postnational Aurality: Institutional Detour and the Creolization of Sovereignty
Coda / Bigidi
Acknowledgments
Basic Gwoka Rhythms
Notes
Discography
Bibliography
Index
Basic Gwoka Rhythms
Notes
Discography
Bibliography
Index
Review Quotes
CHOICE
"Camal presents a thorough review of gwoka’s evolution, as he examines the social and sonic identity of the music through stages of pure acoustic, jazz-influenced, and contemporary contextual performance. . . . Summing Up: Recommended."
Timothy Rommen, University of Pennsylvania
“Partly a rethinking of creolization, partly an exploration of sound studies and aurality, and partly a careful excavation of anti- and postcolonial politics, this book weaves its narrative through a sustained engagement with the sounds, discourses, and meanings of gwoka in Guadeloupe. Creolized Aurality is an innovative, timely, and intellectually substantive contribution to Caribbean studies, anthropology, and ethnomusicology.”
Yarimar Bonilla, Rutgers University
“Merging political, musical, and social analysis Camal offers a thick sonic description of the lived experience of colonialism in the French Caribbean. Creolized Aurality moves beyond a simple study of the political and musical forms of the French Caribbean and towards a true theorization of not just Antillean sound, but the sound of a postcolonial predicament. Camal asks: what does postcolonialism sound like? How is creole nationalism sonically enacted? And how can an analysis of soundscapes reveal a social and political world? The result is a powerful contribution to both Caribbean Studies and the Anthropology of sound more broadly.”
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