Averill, Gage — A Day for the Hunter, A Day for the Prey: Popular Music and Power in Haiti (1997) Source Information

Averill, Gage — A Day for the Hunter, A Day for the Prey: Popular Music and Power in Haiti (1997) Source Information Author: Gage Averill Full Title: A Day for the Hunter, A Day for the Prey: Popular Music and Power in Haiti Publisher: University of Chicago Press Year: 1997 Type: Secondary Source — ethnomusicology, cultural history, political history Location in Vault: research/secondary-sources/ Extracted Text: No verified extracted text file currently present in research/source-texts/extracted/ Local source file: Not currently located in the vault or local Rasin archive under a verifiable filename; direct file-level verification remains pending Status Text extracted: No verified vault text file currently present Review pass: Graph-expansion consistency pass completed (2026-03-31) — musicopolitical framework, konpa, carnival, mizik rasin, and the Duvalier/post-Duvalier arc fully integrated into the canonical graph; direct file-level verification remains pending because the raw source file is not currently located Chapter notes: averill day hunter day prey ch notes Graph review in this pass: Fills the vault's complete prior gap in music coverage; primary touchpoints are vodou, francois duvalier, noirisme, indigenisme, rara, carnival, and pwen, plus the post-1986 political arc through Aristide Overview A Day for the Hunter, A Day for the Prey is the foundational work on Haitian popular music in the twentieth century. Averill — an ethnomusicologist who spent years in Haiti conducting fieldwork, attending ceremonies, observing elections, and performing with carnival bands — traces the relationship between music and political power from the US Occupation era through Aristide's 1994 return. The title itself is a Haitian proverb about reversals of fortune.