In a long conversation with Arnaud Labelle-Rojoux, Bertrand Dicale looks back on his book Neither Black nor White: The History of Creole Music (Ni noires ni blanches : histoire des musiques créole s, published by La Philharmonie – La rue musicale). This work shows how the tragedy of slavery contributed to the development of multiple forms of music: Biguine, Bossa-nova, Calypso, Chachacha, Dancehall, Danzon, Forro, Gospel, Jazz, Kopa, Mambo, Merengué, Milonga, Morna, Negro-spiritual, Ragamuffi, Reggae, Reggaeton, Rocksteady, Salsa, Tango, Zouk… All have in common the fact of being neither African nor European, not only Black nor only White, and not only dominating nor only oppressed. Their common historic origin brings them together more than anything else: they are Creole. ARNAUD LABELLE-ROJOUX : The keyword of your book Neither Black nor White is Creolity. The writer, poet and the philosopher Edouard Glissant, of course, who theorized and reflected on the notion of Creolization, comes to mind. But it seems to me, and this is what I find fascinating in your extremely transversal approach to “Creolity”, that this concept allows us to shed…
Single Identities Are Over!
Conversation with Bertrand Dicale
Last modified: 11 January 2019