Ce travail porte sur les performances scéniques qui naquirent à Cuba de la rencontre entre l'idéologie marxiste, officiellement adoptée par le gouvernement depuis 1961, et les religions afro-cubaines, pratiquées sur l'île depuis l'arrivée des premiers esclaves africains. D'un côté, le gouver-nement révolutionnaire entreprit de transformer les rituels afro-cubains en folklore national, tout à la fois pour en neutraliser la portée religieuse et pour les intégrer au patrimoine d'une nation en pleine construction. De l'autre, il exigea au fil des années un militantisme croissant de la part des artistes et notamment des dramaturges, auxquels il était demandé de produire un théâtre social, au service d'une cause politique résolument athée. Ces deux univers, celui des rituels afro-cubains et celui du théâtre engagé, étaient donc a priori bien distincts. Certains dramaturges entreprirent cependant de les mettre en contact : Carlos Felipe (Réquiem por Yarini, 1960/1965), José Ramón Brene (Santa Camila de la Habana Vieja, 1962), José Triana (Medea en el espejo, 1960 et La muerte del Ñeque, 1964), Eugenio Hernández Espinosa (María Antonia, 1964/1967) et José Milián (Mamico Omi Omo, 1965). Leurs approches et leurs objectifs sont très variés mais d'une manière ou d'une autre tous en vinrent, par le détour théâtral, à restituer au langage rituel l'efficacité qu'il avait perdue sur les scènes folkloriques et à produire, le plus souvent involontairement, un théâtre qui s'apparente à de maints égards au théâtre de la Cruauté théorisé par Antonin Artaud, ce théâtre de « l'invisible rendu visible » - théâtre justement décrié par les autorités révolutionnaires. / This work studies on stage performances created in Cuba as a result of the encounter of Marxist ideology, officially adopted by the government in 1961, and Afro-Cuban religions, practised in the island since the arrival of the first African slaves. On one hand, the revolutionnary government set out to transform Afro-Cuban rituals into a national folklore in order to both neutralize its religious significance and insert it within the heritage of a nation in building; on the other hand, artists, playwrights in particular, were ordered over the years to be the activists of a staunch atheist political cause. Therefore these two worlds, Afro-Cuban rituals and socially engaged theater, were a priori quite distinct. However, some playwrights took on bridging the gap between them : Carlos Felipe (Réquiem por Yarini, 1960/1965), José Ramón Brene (Santa Camila de la Habana Vieja, 1962), José Triana (Medea en el espejo, 1960 and La muerte del Ñeque, 1964), Eugenio Hernández Espinosa (María Antonia, 1964/1967) and José Milián (Mamico Omi Omo, 1965).Their approaches and goals were diverse but, somehow or other, by the detour of theater, they all came to restore the effectiveness of the ritual language, lost in the context of folk scenes, and to create, often unwittingly, a theater similar to the Theater of Cruelty theorised by Antonin Artaud, the theater of « the invisible made visible » – the one precisely criticized by the revolutionary authority.

Submitted by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-04-29T18:29:18Z No. of bitstreams: 1 Dissertação de Zaylin.pdf: 824585 bytes, checksum: c899bc868f09d49a1754cb33ad75ec51 (MD5) / Approved for entry into archive by Ana Portela (anapoli@ufba.br) on 2016-04-29T19:49:04Z (GMT) No. of bitstreams: 1 Dissertação de Zaylin.pdf: 824585 bytes, checksum: c899bc868f09d49a1754cb33ad75ec51 (MD5) / Made available in DSpace on 2016-04-29T19:49:04Z (GMT). No. of bitstreams: 1 Dissertação de Zaylin.pdf: 824585 bytes, checksum: c899bc868f09d49a1754cb33ad75ec51 (MD5) / CAPES / Esta investigação tem como eixo central a análise descritiva acerca das funções e importância que possui a iyalocha dentro e fora dos espaços sócio-religiosos na Santería ou Regla de Ocha, espaço que se define no seu conceito como Casa-templo ou ilé. Para sua maior compreensão desenvolvemos no primeiro capítulo de este trabalho um estudo sobre os aspectos teóricos que fazem parte da mencionada religião de matriz africana em Cuba. Fundamentamo-nos também no estudo de diferentes histórias de vida relacionadas com as análises das seguintes variáveis: gênero, classe social, características das Casas- templo, funções da iyalocha dentro do espaço sócio- religioso, nível profissional e cultural, cor da pele, identificação política, etc. de quarenta iyalochas, dez babalaô, dois oriatés e cinco santeiros residentes nos seguintes municípios da Ciudad de La Habana, capital de Cuba: Arroyo Naranjo, Plaza de la Revolución, Habana Vieja, Centro Habana, Marianao, Playa e Diez de Octubre. This research has as the central focus the descriptive analysis about functions and importance that has the iyalocha inside and outside spaces in Santería or Regla de Ocha, spaces that is defined in its concept as a temple or ile socio- religious. For your better understanding we rely on the first chapter of this work in the study of the theoretical aspects that are part of this religion of African array. We also base on the study of different life stories related to the analysis of the following variables: gender, social class, characteristics of the houses- temple, functions with in the space socio- religious professional and cultural level, colour of skin, political identification, etc, of forty iyalochas, ten babalawo, two oriatés and five santeros residents in the municipalities of the city of Havana capital of Cuba: Arroyo Naranjo, Plaza de la Revolución, Havana Vieja, Centro Havana, Marianao, Playa and Diez de Octubre.

Vince Guaraldi (1928-1976) was a jazz pianist who achieved tremendous financial and commercial success in the 1960s with his popular recordings and his work for the Peanuts animated shorts. He cultivated a musical style that drew from several identifiable sources: boogie-woogie, bebop, Brazilian and Afro-Cuban jazz, and rock ‘n' roll. The result was a distinct approach to jazz which, although it may not have been as influential as that of some of his contemporaries, nevertheless constituted a unique and personal voice—what several commentators have referred to as the "Guaraldi sound." This dissertation considers the entire range of Guaraldi's recorded output in order to define and catalog many elements that contributed to Guaraldi's musical style. Using an analytical framework drawn from the work of Leonard Meyer and Benjamin Givan, this study describes both Guaraldi's improvisational style—the licks, patterns, and phrases that he plays while soloing—and common elements of his compositions—the chord progressions, grooves, and other features that are particularly idiomatic. Also discussed are Guaraldi's status within the established jazz canon and the disparity between his widespread popularity and his lukewarm critical reputation. The discussion and analyses provide useful insights for fans of Guaraldi, fans of Peanuts music, jazz musicologists, and any seeking to emulate the Guaraldi sound.

Certains enregistrements vidéos et un enregistrement audio des interprétations des œuvres n’ont pas été inclus comme fichiers complémentaires à cette thèse pour des questions de droits d’auteur. Les vidéos pour les œuvres "Au_sommet_de_ses_convulsions_lhomme_est_pret_a_partir" et "The Era of the Show" sont accessibles sur la chaine YouTube des interprètes; les liens sont insérés dans la partition. Pour les autres enregistrements concernés, une description se trouve dans la thèse. / Le sujet principal de cette thèse est le constant changement au sein de deux rôles, soit celui d’interprète et celui de compositrice et comment chacune de ces disciplines aura une influence directe sur la démarche présentée dans cette recherche. Les diverses étapes du travail avec l’électronique sont également présentées, ainsi que l’évolution de celui-ci dans chaque projet. On aborde aussi dans cette recherche la grande différence, les avantages et les désavantages de la composition de musique mixte en vue d’une interprétation pour soi même ou pour d’autres interprètes. Autres aspects importants : l’influence de la musique populaire, plus spécifiquement la musique afro-cubaine, l’improvisation et la théâtralité. Un processus de recherche et de création qui présente différentes oeuvres, leurs problématiques et leurs étapes de création. Les oeuvres #TheEraOfTheShow et Babilonia seront présentées et analysées plus en détail. / Being in constant change between several roles, that of the interpreter and the composer and how each of these disciplines influences the approach presented in this research is the main subject of this thesis. The various stages regarding working with electronics and its evolution in each project presented will also be addressed. Another aspect covered in this research is the differences, the advantages and the disadvantages that exist in composing mixed music to be performed by ourselves and music for other performers. The influence of popular music, more specifically Afro-Cuban music. Improvisation as a starting point in several projects. A whole process of research and creation which presents various works, their problems and stages of creation. The works #TheEraOfTheShow and Babilonia, will be presented and analyzed in more detail.

The status, roles, and interactions of three dominant African ethnic groups and their descendants in Cuba significantly influenced the island’s cubanidad (national identity): the Lucumís (Yoruba), the Congos (Bantú speakers from Central West Africa), and the Carabalís (from the region of Calabar). These three groups, enslaved on the island, coexisted, each group confronting obstacles that threatened their way of life and cultural identities. Through covert resistance, cultural appropriation, and accommodation, all three, but especially the Lucumís, laid deep roots in the nineteenth century that came to fruition in the twentieth. During the early 1900s, Cuba confronted numerous pressures, internal and external. Under the pretense of a quest for national identity and modernity, Afro-Cubans and African cultures and religion came under political, social, and intellectual attack. Race was an undeniable element in these conflicts. While all three groups were oppressed equally, only the Lucumís fought back, contesting accusations of backwardness, human sacrifice, cannibalism, and brujería (witchcraft), exaggerated by the sensationalistic media, often with the police’s and legal system’s complicity. Unlike the covert character of earlier epochs’ responses to oppression, in the twentieth century Lucumí resistance was overt and outspoken, publically refuting the accusations levied against African religions. Although these struggles had unintended consequences for the Lucumís, they gave birth to cubanidad’s African component. With the help of Fernando Ortiz, the Lucumí were situated at the pinnacle of a hierarchical pyramid, stratifying African religious complexes based on civilizational advancement, but at a costly price. Social ascent denigrated Lucumí religion to the status of folklore, depriving it of its status as a bona fide religious complex. To the present, Lucumí religious descendants, in Cuba and, after 1959, in many other areas of the world, are still contesting this contradiction in terms: an elevated downgrade.