Sounds of vacation : political economies of Caribbean tourism / Jocelyne Guilbault and Timothy Rommen, editors.
Material type: TextLanguage: English Publisher: Durham : Duke University Press, 2019Copyright date: ©2019Description: viii, 234 pages ; 23 cmISBN:- 9781478004288
- 1478004282
- 9781478004882
- 1478004886
- 306.4/842409729 23
- ML3917.C38 S68 2019
Item type | Current library | Call number | Status | Date due | Barcode |
---|---|---|---|---|---|
Book | TBS Barcelona | ML3917 GUI (Browse shelf(Opens below)) | Available |
Includes bibliographical references (pages 207-226) and index.
It sounds better in the Bahamas : musicians, management, and markets in Nassau's all-inclusive hotels / Timothy Rommen -- Touristic rhythms : the Club Remix / Jerome Camal -- Listening for noise : seeking disturbing sounds in tourist spaces / Susan Harewood -- All-inclusive resorts in Sint Maarten and our common decolonial state : On butterflies that are caterpillars still in chrysalis / Francio Guadeloupe and Jordi Halfman -- Sound management : listening to Sandals Halcyon in Saint Lucia / Jocelyne Guilbault -- Epilogue. The political economy of music and sound / Percy C. Hintzen.
The contributors to Sounds of Vacation examine the commodification of music and sound at popular vacation destinations throughout the Caribbean in order to tease out the relationships between political economy, hospitality, and the legacies of slavery and colonialism. Drawing on case studies from Barbados, the Bahamas, Guadeloupe, Saint Martin, and Saint Lucia, the contributors point to the myriad ways live performances, programmed music, and the sonic environment heighten tourists' pleasurable vacation experience. They explore, among other topics, issues of authenticity in Bahamian music; efforts to give tourists in Barbados peace and quiet at a former site of colonial violence; and how resort soundscapes extend beyond music to encompass the speech accents of local residents. Through interviews with resort managers, musicians, and hospitality workers, the contributors also outline the social, political, and economic pressures and interests that affect musical labor and the social encounters of musical production. In so doing, they prompt a rethinking of how to account for music and sound's resonances in postcolonial spaces.