Throughout the novel “Blackness in the White Nation: A history of Afro-Uruguay,” George Reid Andrews provides an extensive outlook on the historic plight of the Afro-Uruguayan, originating from the colonial period to the present. Deriving out of the genesis of the reading, he presents the irony in the “2002 Llamadas, the annual parade of the African inspired Carnival comparsa. (Andrews, 1)” These comparsas which mainly composed of white or Euro-Uruguayans temporarily identified themselves as Negro. Although the adoptions of these new identities were meant to be enjoyable with forward-looking intentions, it became a camouflage to the reality of the mundane Afro-Uruguayan. Despite the fact Uruguay has extremely authoritative commitments and
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Candombe synonymous to the epiphany of the Afro-Uruguayan population; finally became accepted into the social realms of the “white nation” of Uruguay. Andrews contends that through the acquirement of these black identities through Candombe performed by white men collectively accomplish a few things. These white men are able to enjoy the culture of black ancestry, construe the meaning of both races, and redefine their superiority over the blacks. From the new sound of cadombe created to the invention of stock characters throughout the Carnival, the whites appropriated the historic substance of African candombe. Although, these were not the intentions of the white comparsas, they were attempting to connect with the admiration of the African forms of candombe. But, Andrews states a clear outlook that this was a temporary attempt to recognize and acknowledge blacks by stating: “The Pobres Negros Orientales’ toast to Momus echoed a similar toast to the spirit of Carnival made by another comparsa, the Negros Lubolos, the year before (1877). If blacks and whites today are Mixed up in the same class, Only during Carnival Can such madness last.(Andrews, 54)” This was evident when Andrews took the opportunity to explore the candombe schools and learned that it was rare that the men attending valued the African history being told. Andrews explained “… …show more content…
During his final chapters he makes it evident that Candombe could never become the cultural linkage between racial barriers of equality. There was still discrimination throughout the work force, school system and other social realms that had been neglected by the whites. And through black press, organizations and societies the blacks attempted to heavily raise attention to their issues. One of the most “visible and influential of the Afro-Uruguayan social and civic groups, Mundo Afro, sought to address what it perceived to be the three principal problems confronting the black population: (1) poverty; (2) the ‘‘invisibilization’’ of black people in Uruguay, where society refused to acknowledge black contributions to national history and culture; and (3) racial discrimination and prejudice. (Andrews, 148) ” Fundamentally, Candombe was merely a concealment of the racism and discrimination that was heavily active in Uruguay. The racial boundies still existed as identified in the novel: “Whites are free to 172 dictatorship and democracy partake of these pleasures by parading as negros lubolos and, since the 1980s, even as vedettes; then at the end of the day (or, more accurately, the night), they are also free to remove their blackface makeup and costumes and return to their everyday identities as educated, employed, respectable citizens of
Candombe synonymous to the epiphany of the Afro-Uruguayan population; finally became accepted into the social realms of the “white nation” of Uruguay. Andrews contends that through the acquirement of these black identities through Candombe performed by white men collectively accomplish a few things. These white men are able to enjoy the culture of black ancestry, construe the meaning of both races, and redefine their superiority over the blacks. From the new sound of cadombe created to the invention of stock characters throughout the Carnival, the whites appropriated the historic substance of African candombe. Although, these were not the intentions of the white comparsas, they were attempting to connect with the admiration of the African forms of candombe. But, Andrews states a clear outlook that this was a temporary attempt to recognize and acknowledge blacks by stating: “The Pobres Negros Orientales’ toast to Momus echoed a similar toast to the spirit of Carnival made by another comparsa, the Negros Lubolos, the year before (1877). If blacks and whites today are Mixed up in the same class, Only during Carnival Can such madness last.(Andrews, 54)” This was evident when Andrews took the opportunity to explore the candombe schools and learned that it was rare that the men attending valued the African history being told. Andrews explained “… …show more content…
During his final chapters he makes it evident that Candombe could never become the cultural linkage between racial barriers of equality. There was still discrimination throughout the work force, school system and other social realms that had been neglected by the whites. And through black press, organizations and societies the blacks attempted to heavily raise attention to their issues. One of the most “visible and influential of the Afro-Uruguayan social and civic groups, Mundo Afro, sought to address what it perceived to be the three principal problems confronting the black population: (1) poverty; (2) the ‘‘invisibilization’’ of black people in Uruguay, where society refused to acknowledge black contributions to national history and culture; and (3) racial discrimination and prejudice. (Andrews, 148) ” Fundamentally, Candombe was merely a concealment of the racism and discrimination that was heavily active in Uruguay. The racial boundies still existed as identified in the novel: “Whites are free to 172 dictatorship and democracy partake of these pleasures by parading as negros lubolos and, since the 1980s, even as vedettes; then at the end of the day (or, more accurately, the night), they are also free to remove their blackface makeup and costumes and return to their everyday identities as educated, employed, respectable citizens of