TY  - BOOK
AU  - Guilbault,Jocelyne
AU  - Rommen,Timothy
TI  - Sounds of vacation : : political economies of Caribbean tourism 
SN  - 9781478004288
AV  - ML3917.C38 S68 2019
U1  - 306.4/842409729 23
PY  - 2019///
CY  - Durham
PB  - Duke University Press
KW  - Music and tourism
KW  - Caribbean Area
KW  - Music
KW  - Social aspects
KW  - Economic aspects
KW  - Tourism
KW  - Political aspects
N1  - 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
N2  - 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

ER  -