Department of Music

Caribbean Soundscapes: Caribbean Musics and Culture
New Orleans, March 2004

Tulane University
New Orleans, LA: March 12-14, 2004

"In the Caribbean, before the verb, there
 were the drum, rhythm and movement"
C1ngel Quintero Rivera
Salsa, sabor y control

The Cuban and Caribbean Studies Institute at Tulane University, in
conjunction with the Stone Center for Latin American Studies and the
Newcomb Department of Music, is pleased to announce CARIBBEAN SOUNDSCAPES,
to be held in New Orleans, Louisiana on March 12-14, 2004.

Popular music has often been singled out as a central defining
characteristic of the Caribbean imaginary. This conference responds to the
need to expand our scholarly paradigms in this area, recognizing intense
regional transnationalization and change in the region in recent years.  
Speakers and participants will address several key questions:  what is the
significance of the Caribbean as a specific locale for the production and
circulation of popular music?  What role does popular music play in the
creation and continued performance of national identities throughout the
circum-Caribbean and other zones, such as continental Latin America,
northern North America, and Europe?

The conference will feature several plenary speakers, among them Prof.  
Gerard Béhague (University of Texas at Austin) and Prof. Juan Flores
(Hunter College, CUNY).  Further details about the conference will be
available on line at

Proposals for papers and panels are invited in a wide range of areas
including, but not limited to:

* New approaches to questions of national identity, political resistance
  and "foundational fictions" in Caribbean popular music
* The culture industry and Caribbean music: histories and practices
* Crossing borders and seas: traveling with and through popular Caribbean
* Popular music and tourism: selling the Caribbean
* Music and dance as cultural practices:  performances of Caribbean 
* The place of Caribbean music in the "lettered city"
* The politics of gender, race and class in Caribbean popular music
* Transculturations, mestizajes, and hybridities: inter-Caribbean, 
  intra-national, inter-national
* Popular Caribbean music as world music
* Rap, hip hop, rock and punk: new trends in Caribbean popular musics

We invite proposals for papers and panels that examine particular case
studies and phenomena (especially in innovative juxtapositions), propose
new conceptual frameworks or periodizations, reflect on historiographical
and theoretical issues, or rethink conventional narratives. We also invite
cultural producers (musicians, performers, promoters, producers, dancers,
filmmakers, writers and other artists)  working on Caribbean popular music
themes to present or reflect on their work. Proposals for panels
(consisting of three or four papers and possibly a discussant) are
encouraged, but individual paper proposals will receive equal

For individual papers, proposals should include a 300 word abstract and
detailed personal information (Name, mailing address, email address, phone
and fax numbers, institutional affiliation).  Panel proposals should
include all of the above for each individual paper as well as a separate
top sheet identifying the panel title, panel organizer and a 200-300 word
panel description.

Please email proposals to and by
December 15, 2003.  Accepted papers/panels will be announced by December
31, 2003.

Conference Organizers:

Prof. Ana M. López, Director
Cuban and Caribbean Studies Institute

Prof. Javier León
Newcomb Department of Music

Prof. Marilyn Miller
Department of Spanish and Portuguese

Gerard Béhague

Gerard Béhague has been a professor of musicology and ethnomusicology at
the University of Texas at Austin since 1974, where he holds the Virginia
Murchison Regents Professorship in Fine Arts. He was raised and educated
in Rio de Janeiro, graduating from the National School of Music of the
University of Brazil and the Brazilian Conservatory of Music. He studied
musicology and ethnomusicology at the Sorbonne in Paris (1959-63), and
then at Tulane University (New Orleans) for his doctoral studies and
received his Ph.D. in 1966. A past president of the Society for
Ethnomusicology, he was the editor of the journal Ethnomusicology and
founded the Latin American Music Review that he has been editing since
1980. He is the author of several books and dozens of scholarly articles
on the various traditions of Latin American music. He has carried out
field research primarily in Northeast Brazil on Afro-Brazilian religious
music and culture and in West Africa. He has been the recipient of
numerous fellowships and grants from the Guggenheim, Ford, and
Carnegie-Mellon Foundations, the American Council of Learned Societies and
the National Endowment for the Humanities.

Juan Flores

Juan Flores is professor of Black and Puerto Rican Studies at Hunter
College, City University of New York (CUNY) and in the sociology program
at the CUNY Graduate Center. He received his B.A. from Queens College in
1965 and his Ph.D. from Yale University in 1970. His research and teaching
focus on social and cultural theory, popular culture and ethnicity and
race, especially Puerto Rican and Latino studies. Flores is the author of
Poetry in East Germany (Choice magazine award), The Insular Vision (winner
Casa de las Americas award), Divided Borders: Essays on Puerto Rican 
Identity and From Bomba to Hip-Hop: Puerto Rican Culture and Latino 
Identity. He also is the translator of Memoirs of Bernardo Vega and of
Cortijo's Wake by Edgardo Rodríguez Julió and co-editor of On Edge: The
Crisis of Latin American Culture. His work has appeared in numerous
journals and newspapers in the United States and Latin America, including
Daedalus, Journal of Ethnic Studies, Revista de Ciencias Sociales, Harvard
Educational Review, and Modern Language Quarterly. He is co-editor of two
book series, one on cultural studies of the Americas for University of
Minnesota Press, the other on Puerto Rican studies with Temple University
Press. He has served on editorial boards for several journals, including
The Americas Review, Black Renaissance and The Latino Review of Books, as
well as on the boards of directors of the New York Council on the
Humanities, the Recovering the Hispanic Literary Heritage Project and the
Latin Jazz Project of the Smithsonian Institution.