A large amount of Latin American popular, folk, and art music circulated in the United States during the twentieth century. It was not just popular music composers that had dialogue with it; classically trained composers such as Leonard Bernstein also did. However, more than the music tradition that Bernstein absorbed into his compositional language in works such as On the Town (1944) and West Side Story (1957), this chapter argues that Latin American music also served as a medium to express Bernstein’s ideas and feelings about the US socio-political and cultural landscape. Furthermore, the chapter shows that Bernstein’s dialogue and collaboration with Latin American composers at the Tanglewood Music Festival, conducting the New York Philharmonic during the Latin American tour (1958), and performing Latin American music works at the Young People’s Concerts (1958−72), all contributed to and enhanced his vision as a cultural broker.

This book traced the broad as well as the narrow paths that led from Mesopotamian theories of language to their Greek adaptations. It argued that some stories, like the succession myths, displayed not only a shared interest in the nature of language but were also a vehicle for transcultural transmission. Within this context, the idea of a universal god whose multiple names describe cosmic history was utilized by elite specialists for purposes of understanding the world. Rather than viewing transculturation in terms of influence or, contrarily, in asserting independence, this study showed how the Greeks made selective use of Mesopotamian cultural goods to achieve prestige through innovation.

This chapter examines the literary representation of Afro-Cuban orality by three major Cuban literary figures of the twentieth century: Fernando Ortiz, Lydia Cabrera, and Nicolás Guillén. Their writing is considered in the context of wider debates about the representational value of Latin American literary portrayals of the Other and the question of the subaltern speaking, thus linking them with the late 1980s body of criticism known as postmodern ethnography. In this sense, critics tend to favor Cabrera’s self-reflective innovative representation over Ortiz’s supposedly objective detachment as traditional anthropologist. However, this chapter draws attention to the fact that both Ortiz’s and Cabrera’s studies were forms of salvage ethnography, an approach based on the erroneous belief that oral traditions need to be preserved or rescued through writing. The chapter then addresses the son poetry of Nicolás Guillén as a contrasting representation of Afro-Cuban orality in the realm of written poetry that circumvents Ortiz’s and Cabrera’s reifying approaches by drawing on the lyrics of Afro-Cuban music son. Thus, the poem "Secuestro de la mujer de Antonio" achieves an openly subjective literary reworking of an Afro-Cuban son text while recognizing its parallel existence as a legitimate Afro-Cuban literary form and foregrounding its own status as copy.

The Latin American colonial period was a time of intense military, economic, social, political, and religious upheaval. Although European colonial expansion eradicated or seriously emaciated many indigenous societies and imposed itself on them politically and culturally, the conquest and colonization of the Americas was also a period of transculturation in which new symbolic forms–racial, religious, political, social, even gastronomic–emerged from the interaction between European and indigenous cultures. In some cases, the results of transculturation are relatively easy to identify, but the interaction between alphabetic writing and indigenous media such as Mesoamerican iconography and the Andean quipu is much more difficult to detect. This chapter proposes a theory of transcultural intertextuality as a model for understanding the nature of this interaction and a basis for the identification and analysis of particular instances.

This chapter examines the literary representation of Afro-Cuban orality by three major Cuban literary figures of the twentieth century: Fernando Ortiz, Lydia Cabrera, and Nicolás Guillén. Their writing is considered in the context of wider debates about the representational value of Latin American literary portrayals of the Other and the question of the subaltern speaking, thus linking them with the late 1980s body of criticism known as postmodern ethnography. In this sense, critics tend to favor Cabrera’s self-reflective innovative representation over Ortiz’s supposedly objective detachment as traditional anthropologist. However, this chapter draws attention to the fact that both Ortiz’s and Cabrera’s studies were forms of salvage ethnography, an approach based on the erroneous belief that oral traditions need to be preserved or rescued through writing. The chapter then addresses the son poetry of Nicolás Guillén as a contrasting representation of Afro-Cuban orality in the realm of written poetry that circumvents Ortiz’s and Cabrera’s reifying approaches by drawing on the lyrics of Afro-Cuban music son. Thus, the poem "Secuestro de la mujer de Antonio" achieves an openly subjective literary reworking of an Afro-Cuban son text while recognizing its parallel existence as a legitimate Afro-Cuban literary form and foregrounding its own status as copy.

The premise of this chapter is that an examination of the Cuban son provides important insights into Cuban history and society, into Caribbean race relations, and ongoing processes of cultural fusion involving Afro-descendant and Euro-descendant practices, among others. The chapter focuses primarily on early son history, its antecedent forms, the African-influenced aesthetic sense that gave rise to it, and the popularization of the music and dance in the early twentieth century. Later it briefly considers changes to son music in the 1930s and beyond.

Following the establishment of the modern circus in London and Paris during the later decades of the eighteenth century, the circus began its steady dispersion around the world. The global transmission of this new sort of public entertainment by peripatetic performers and entrepreneurs was in no small measure attributable to waves of colonialism, industrial advances in transportation and communication, and motivations arising from commercial interests. This chapter charts the transference of the circus to Australasia (Australia and New Zealand), the territories of Southeast Asia (including present-day Malaysia, Singapore, Indonesia, and the Philippines), and the South Asian territories of the Indian subcontinent and China in the nineteenth century. What is little understood about the processes of circus transculturation in these regions is that circus companies originating from colonial territories undertook transnational touring projects, thus enacting aesthetic and transcultural movements between territories on the periphery of empire. This chapter brings to light the ways that circuses were agents of colonialism and empire, as well as transcultural transmitters of aesthetic innovation in the period that was both the Age of Empire and the Age of Modernity.

‘Indian Ibsens’ demonstrates how Ibsen’s oeuvre inflected the Indian stage as it moved from its traditional corpus of mythological, historical and musical drama to a theatre of social realism and revolutionary individualism that challenged the entrenched orthodoxies of an ancient civilization. Tracing the evolution of the reception of Ibsen separately for southern, western and eastern Indian theatre from the 1920s onwards, this chapter reveals some significant trajectories: first, that the dominance of the realistic plays of Ibsen’s middle period gave way from the 1970s to interest in the complex symbolism of his later work; and secondly, that the adaptations move through three distinct phases: translation (with Indian names and locales), transculturation in terms of local imperatives, and finally, radical transcreation where Ibsen is transported to the tropics by way of indigenous performance protocols of dance, music, mime and myth. In addition, the chapter briefly chronicles Ibsen’s impact on Indian fiction and film, in the Indian university system through literature and gender studies courses, and among Indian NGOs vying for the prestigious Ibsen Award using an Ibsen play for grassroots social empowerment. India is presented as the repository of one on the richest Ibsen archives available today.