Abstract
Paul Gilroyâs The Black Atlantic challenged black nationalismâs fixation with roots and exclusive ownership of cultural production, suggesting instead that black diasporic identity is the result of âa process of movement and mediation [âŠ] more appropriately approached via the homonym routesâ. The recordings of Concha Buika, born in Spain to Equatoguinean parents, expose deficiencies in Gilroyâs thesis for a comprehension of the experiences of those Europeans born in Africa or to parents born there. Developing Gilroyâs ship chronotope, I posit that Buikaâs musical inspirations and alliances are analogous to periods of leave. As the daughter of immigrants â rather than the descendent of slaves â Buika does not predicate her identity solely upon membership of a black diaspora; she also regularly draws on genres that originated in the land of her birth. I conclude my analysis of the issue of agency by reflecting on the extent to which material and other factors might influence Buikaâs work.
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