Between Spanish Harlem, Funky Colón, and Black Rio. Soul, Migration of Music, and Translocal Identity Constructions in the Black Power Era (1965-1975)

该项目旨在探索灵魂音乐的作用——它与20世纪60年代美国非裔美国人自由运动的兴起密切相关——对于黑人权力话语的接受和拉丁美洲黑人身份运动的形成。鉴于最近关于非裔美国人运动和文化的跨国维度、西半球的跨文化以及音乐迁移与身份建构之间的关系的辩论，我们将研究《灵魂》这一流派在民权运动和黑人权力运动的背景下作为一种新的黑人意识的表现形式所发挥的作用。该项目将概述《灵魂》及其黑人自豪感的象征性代表如何在美国边境被接受为非洲裔美国人进入新时代的配乐，并认为它在黑人权力运动的跨国化中发挥了重要作用。通过关注1965年至1975年运动高峰时期拉丁美洲城市背景下灵魂的跨地方分布，它将探索美洲文化转移的一个很大程度上未被研究的方面，并有助于弥合非裔美国人和拉丁美洲研究之间的现有界限。由于调查旨在揭示不同地点（Marcus 1995）和重叠景观（Appadurai 2000）集体灵魂消费的多维含义，它重复使用方法论方法，用于概念化文化实践、话语和行动者的流动性。基于对灵魂的分析，这通常被其政治维度所忽视，我们将研究这种类型如何以及通过哪些方式将黑人权力运动的信息和美学表现形式（非洲发型，服装和口号，如黑人是美丽的）传递到拉丁美洲地区，以及这些如何与占主导地位的梅斯蒂扎伊和民主种族意识形态相碰撞。除了通过唱片行业的扩张传播这些符号和内容外，跨地区行动者如音乐家、dj和活动家的作用在这里也至关重要。通过强调Colón（巴拿马）的西印度社区和巴西黑人里约运动中占有灵魂的形式，以及纽约西班牙裔哈莱姆移民社区作为非洲流散跨文化的半球中心的重要意义，非裔美国人文化产品全球化的一个未被充分探讨的章节，将在半球交流过程的不同地点，以及其与各自社会中国家、种族和民族起源的不同内涵的关系中进行分析。

The project proposes to explore the role of Soul music - which was closely linked to the rise of the African American freedom movement in the USA in the 1960s - for the reception of Black Power discourses and the formation of black identity movements in Latin America. In the light of recent debates on the transnational dimensions of African American movements and cultures, transculturations in the Western Hemisphere and the relations between music migration and identity constructions, the genre Soul shall be examined for its role asmanifestation of a new black consciousness raised in the context of Civil Rights and Black Power movements. This project will outline how Soul with its symbolic representations of black pride was received across the US borders as a soundtrack for the departure of the African Americans into a new era, arguing that it had a significant role in the transnationalization of the Black Power Movement. By focusing on the translocal distribution of Soul in urban Latin American contexts during the peak phase of the movement between 1965 and 1975, it will explore a largely unstudied aspect of inter-American cultural transfers and and contribute to the bridging of existing demarcations between African American and Latin American studies. As the investigation aims to shed light on the multidimensional implications of the collective consumption of Soul at different sites (Marcus 1995) and within overlapping scapes (Appadurai 2000), it recurs on methodological approaches which serve to conceptualize the mobility of cultural practices, discourses, and actors. Based on the analysis of soul, which is often overlooked by its political dimensions, we will examine how and through which ways this genre contributed to transferring messages and aesthetic manifestations of the Black Power Movement in Afro-hairstyles, clothing, and slogans such as Black isbeautiful, to Latin American localities and how these collided with the dominant mestizaje- and democracia racial-ideologies. Besides the diffusion of these symbols and contents through the expansion of the record industry, the role of translocal actors as musicians, DJs, and activists is crucial here. By highlighting the forms of appropriating Soul in the West-Indian communities of Colón (Panama) and the Brazilian Black Rio-movement as well as the significant importance of the migrant neighborhood Spanish Harlem in New York as the hemispheric centre of Afro-diasporic transculturation, an underexplored chapter of the globalization of Afro-US-American cultural goods shall be analyzed in various locations of the hemispheric exchange processes and in its relations to the divergent connotations of nation, race, and ethnicity origin within the respective societies.