![]() |
||||||||||||||||||||||
|
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
![]() |
|
|
|
||||||||||||||||||||||
|
|
||||||||||||||||||||||
| THE
MARACA LADY [I bought this pair of maracas in Santiago de Cuba. They have tobacco and azucar (sugar) written on them: until the end of the 20th century sugar and tobacco were the mainstays of the Cuban ecomomy, the source of the ‘contrapunto’ of Cuban music]
REFEREES Professor Simon Frith, Film and Media Department, Stirling University, Stirling FK9 4LA Professor Richard Middleton, The Music Department, The University of Newcastle, Newcastle-upon-Tyne NE1 7RU Dr. Suzel Reily, Department of Social Anthropology, The Queen's University of Belfast, 14 University Square, Belfast BT7 1NN, Northern Ireland Dr Sara Cohen, Senior Lecturer, Institute of Popular Music, The University of Liverpool, P O Box 147, L69 3BX
Web site written by Jan Fairley |
Web site written by Jan Fairley | Designed by Tonka and Jan Fairley | Photos by Pascal Saenz |