This essay examines how Federico García Lorca transforms the musical form son in his poem ‘Son de negros en Cuba’. Significant in this is Lorca’s relationship with anthropologist Fernando Ortiz, who regarded hybridity as foundational to post-colonial Cuban identity. For Ortiz and the Cuban writer Alejo Carpentier, son’s hybridity is analogous to ethnic and cultural syncretism, which Ortiz likens to counterpoint, or the juxtaposition of contrasting lines in music. Syncretism and counterpoint, the core concepts of Ortiz’s theory of ‘transculturation’, become paradigmatic of Lorca’s poem. By writing ‘counterpoint’ into the poem, Lorca creates space for the performance of intercultural dialogue.

本文探讨了费德里科·加西亚·洛尔卡（FedericoGarcíaLorca）如何将其儿子“古巴的黑人儿子”（Son de negros en Cuba）中的音乐形式转变。洛尔卡（Lorca）与人类学家费尔南多·奥尔蒂斯（Fernando Ortiz）的关系很重要，后者认为杂交是古巴后殖民身份的基础。对于奥尔蒂斯和古巴作家阿列霍·卡庞蒂埃（Alejo Carpentier）而言，儿子的混杂性类似于种族和文化融合，奥尔蒂斯将其比喻为对立，或者将音乐中对比鲜明的线条并置。融合主义和对立点，是奥尔蒂斯“变文化”理论的核心概念，成为洛尔卡诗歌的典范。通过在诗歌中写上“对位”，洛尔卡创造了进行跨文化对话的空间。