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Beginning a New Cuban Dream: An Interview with Carlos Varela 开始一个新的古巴梦:采访卡洛斯·巴雷拉
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2013-12-06 DOI: 10.7560/LAMR34203
María Caridad Cumaná, Karen Dubinsky
{"title":"Beginning a New Cuban Dream: An Interview with Carlos Varela","authors":"María Caridad Cumaná, Karen Dubinsky","doi":"10.7560/LAMR34203","DOIUrl":"https://doi.org/10.7560/LAMR34203","url":null,"abstract":"Carlos Varela is one of the best-known singer-songwriters to emerge from the Cuban nueva trova movement: heir to the musical traditions forged by Silvio Rodríguez and Pablo Milanés. Parochially, if accurately, known in North America as “Cuba’s Bob Dylan,” he has produced eight CDs since he began recording in 1988 and has toured Europe, the United Kingdom, Latin America, the Caribbean, and North America. In Cuba he is known as the voice of the generation that came of age during the Special Period of the 1990s, those raised with the promise and seeming collapse of the Cuban Revolution, for whom his songs have become generational anthems. In this interview, Varela discusses the meaning his music has for Cubans in the diaspora and on the island, the benefits and liabilities of creating music in today’s Cuba, censorship, history, the current Cuban hip-hop scene, and the ongoing significance of music as a political language for his own and other generations of Cubans. He also shares some reflections about his own career and his song-writing process since the 1980s.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"34 1","pages":"196 - 222"},"PeriodicalIF":0.1,"publicationDate":"2013-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR34203","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Toward an Understanding of Conga santiaguera: Elements of La conga de Los Hoyos 对康加舞的理解:Los Hoyos康加舞的元素
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2013-12-06 DOI: 10.7560/LAMR34204
Lani Milstein
{"title":"Toward an Understanding of Conga santiaguera: Elements of La conga de Los Hoyos","authors":"Lani Milstein","doi":"10.7560/LAMR34204","DOIUrl":"https://doi.org/10.7560/LAMR34204","url":null,"abstract":"The province of Santiago de Cuba is legendary throughout Cuba for its carnaval celebration, but especially for the phenomenon of conga. In Santiago, conga refers to neighborhood groups of musicians who parade through the city streets, collecting participants along the way while playing a driving rhythm and instruments specific to the region. Although conga is the hallmark tradition of eastern Cuba, has enjoyed international success, and is an important source of regional pride, it has never been discussed in detail in the extensive literature on Cuban music. This article provides a brief historical discussion of conga and an in-depth analysis of its instrumentation and movement, as played by the conga of Los Hoyos. Analysis reveals that conga is an illustration of Santiago’s rich and unique cultural matrix that includes a significant Saint-Dominguan and Jamaican immigration history. The article finishes with a discussion of recent changes seen in this conga and challenges that lie ahead for the phenomenon of conga in Santiago.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"34 1","pages":"223 - 253"},"PeriodicalIF":0.1,"publicationDate":"2013-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR34204","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339022","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 4
Claiming Caribbeanness in the Brazilian Amazon: Lambada, Critical Cosmopolitanism, and the Creation of an Alternative Amazon 巴西亚马逊地区的加勒比特色:兰巴达、批判性世界主义和另一种亚马逊的创造
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2013-12-06 DOI: 10.7560/LAMR34201
D. Lamen
{"title":"Claiming Caribbeanness in the Brazilian Amazon: Lambada, Critical Cosmopolitanism, and the Creation of an Alternative Amazon","authors":"D. Lamen","doi":"10.7560/LAMR34201","DOIUrl":"https://doi.org/10.7560/LAMR34201","url":null,"abstract":"Located in the eastern Brazilian Amazon roughly three hours by boat from the open Atlantic, the port city of Belém do Pará has been an important point of convergence for transnational flows of commodities, people, and culture, including a vast array of up-tempo Caribbean dance genres known locally as lambada. Since the late twentieth century, inhabitants of Belém and surrounding areas have sought to make a virtue of their liminal position between the hegemonic centers of southeastern Brazil and the circum-Caribbean. This article shows how musicians, dancers, listeners, and culture brokers draw on the local history of Caribbean cosmopolitan musicality to articulate an alternative Amazonian regional identity, one characterized by connectedness and proximity to their Caribbean neighbors rather than by isolation and provincialism. In so doing, the article contributes to the remapping of the cultural contours of Brazil, the Caribbean, the Amazon, and Latin America.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"34 1","pages":"131 - 161"},"PeriodicalIF":0.1,"publicationDate":"2013-12-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR34201","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339412","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Producing the Andean Voice: Popular Music, Folkloric Performance, and the Possessive Investment in Indigeneity 制作安第斯之声:流行音乐、民俗表演和对土著的占有性投资
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2013-06-26 DOI: 10.7560/LAMR34102
Joshua A. Tucker
{"title":"Producing the Andean Voice: Popular Music, Folkloric Performance, and the Possessive Investment in Indigeneity","authors":"Joshua A. Tucker","doi":"10.7560/LAMR34102","DOIUrl":"https://doi.org/10.7560/LAMR34102","url":null,"abstract":"This article explores the way that different popular musical genres stage distinct visions of Andean experience in contemporary Peru. It argues that the varying notions of aesthetic and social legitimacy attached to competing musical genres can be traced to dissimilar ideologies of indigenous difference, which emerged at different historical moments and are therefore tied to distinct politics of cultural identity. By exploring the way that individuals of various social backgrounds value two unrelated musics, one a self-consciously \"modernized\" folk genre and the other a traditional folkloric genre, the article weighs the potential and the limitations of a theoretical stance that celebrates the Peruvian culture industry for its determinative role in the development of a \"hybrid\" Peruvian identity that is ostensibly averse to the celebration of indigeneity itself.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"34 1","pages":"31 - 70"},"PeriodicalIF":0.1,"publicationDate":"2013-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR34102","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 11
La chilena mexicana es peruana: Multiculturalism, Regionalism, and Transnational Musical Currents in the Hispanic Pacific 墨西哥和秘鲁:拉美太平洋地区的多元文化、地域主义和跨国音乐潮流
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2013-06-26 DOI: 10.7560/LAMR34103
Alex Stewart
{"title":"La chilena mexicana es peruana: Multiculturalism, Regionalism, and Transnational Musical Currents in the Hispanic Pacific","authors":"Alex Stewart","doi":"10.7560/LAMR34103","DOIUrl":"https://doi.org/10.7560/LAMR34103","url":null,"abstract":"The emblematic music of the southern states of Oaxaca and Guerrero, the chilena, thrives in one of the most ethnically diverse regions of Mexico. A broad array of subgenres, in traditional as well as contemporary hybrid styles, serves geographically and culturally distinct populations. This article examines the discourse and rhetorical strategies underlying the chilena's origin narratives and efforts to include it within the family of Mexican regional sones. Musical and social aspects of genre construction are related to historical and contemporary narratives concerning mestizaje, race, regionalism, and nation.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"34 1","pages":"110 - 71"},"PeriodicalIF":0.1,"publicationDate":"2013-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR34103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339400","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 2
Parading Brazil through New Orleans: Brazilian Immigrant Interaction with Casa Samba 游行巴西通过新奥尔良:巴西移民与桑巴之家的互动
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2013-06-01 DOI: 10.7560/LAMR34101
A. Gibson
{"title":"Parading Brazil through New Orleans: Brazilian Immigrant Interaction with Casa Samba","authors":"A. Gibson","doi":"10.7560/LAMR34101","DOIUrl":"https://doi.org/10.7560/LAMR34101","url":null,"abstract":"In this article I explore how Casa Samba, the oldest and most established cultural organization representing Brazilian culture in New Orleans, performs global images of Brazil on the local stage of New Orleans. I explore how the image of Brazil projected by Casa Samba performances inevitably becomes mediated through a New Orleanian worldview in what director Curtis Pierre terms an \"Amerizilian\" experience. I also examine Brazilian immigrants' relationship, or lack thereof, to Casa Samba. Brazilian immigrants who relocated to New Orleans after Hurricane Katrina to work in construction are rarely performers with Casa Samba, as they tend to come from areas of Brazil where samba is not representative of local identity. I argue, however, that whether or not they participate directly in Casa Samba as members, Casa Samba is crucial to the construction of a Brazilian identity in New Orleans.Esse trabalho explora como o Casa Samba, a mais velha e mais estabelecida representação da cultura brasileira em New Orleans, destaca imagens globais do Brasil no palco local de New Orleans. O diretor Curtis Pierre chama esse processo de uma experiência \"Ameriziliana.\" Essa pesquisa também destaca o papel do imigrante brasileiro na organização e nas apresentações do Casa Samba. Imigrantes brasileiros, a maioria chegando a New Orleans depois de Katrina para trabalhar na reconstrução, raramente são membros de Casa Samba porque vem de áreas no Brasil onde samba não representa cultura local. Ainda assim, a representação do Brasil feito pela Casa Samba é importante na construção de uma identidade brasileira híbrida em New Orleans.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"34 1","pages":"1 - 30"},"PeriodicalIF":0.1,"publicationDate":"2013-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR34101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Hearing the Change: Reggaeton and Emergent Values in Contemporary Cuba 聆听变化:当代古巴的雷鬼顿和新兴价值观
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2012-11-02 DOI: 10.7560/LAMR33203
N. Torres
{"title":"Hearing the Change: Reggaeton and Emergent Values in Contemporary Cuba","authors":"N. Torres","doi":"10.7560/LAMR33203","DOIUrl":"https://doi.org/10.7560/LAMR33203","url":null,"abstract":"This article deconstructs the wave of moral panic caused by reggaeton in Cuba to suggest that behind issues of \"national\" and \"legitimate\" culture lays a social but mainly political rejection to the marginal subject that this music brings to the fore. Reggaeton's embracing of money is a painful reminder to the authorities of the dreadful consequences of the dual economy and of the increasing gap between emergent values rooted in everyday life experience and socialist ideology. The text also discusses ethnographic work at performance venues that shows how this genre has been particularly successful in articulating not only the values and subjectivities of an underclass, but also the practices of symbolic distinction of more upward class sectors. In a different direction, the article exposes how reggaeton further participates in change, through discourses that voice the contradictory responses of male identity to the impact of sex tourism and the role of money in romantic relationships.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"33 1","pages":"227 - 260"},"PeriodicalIF":0.1,"publicationDate":"2012-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR33203","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 22
Huapango Arribeño: A Mexican Musico-Poetic Tradition at the Interstices of Postmodernity (1968-1982) Huapango Arribeño:后现代间隙中的墨西哥音乐-诗歌传统(1968-1982)
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2012-11-02 DOI: 10.7560/LAMR33202
A. Chávez
{"title":"Huapango Arribeño: A Mexican Musico-Poetic Tradition at the Interstices of Postmodernity (1968-1982)","authors":"A. Chávez","doi":"10.7560/LAMR33202","DOIUrl":"https://doi.org/10.7560/LAMR33202","url":null,"abstract":"Attending to the complex social circumstances that shape vernacular expressive forms over time entails careful consideration of tradition as an embodied aesthetic practice that is maintained as a situated space of quotidian expression while also actuating a cardinal momentum capable of mapping the most present vicissitudes of everyday life. With this in mind, this article ethnographically renders the transformations and circulations of Mexican huapango arribeño—an under-studied musico-poetic tradition—across an emergent postmodern topography of lived life in Mexico from 1968-1982. By providing historiography, alongside transcriptions and practitioners' accounts, a case is made for huapango arribeño as a creative poesis of telluric ways of self-knowing and place-making amidst the political-economic enclosures and officialized cartographies of governmentality during that time.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"33 1","pages":"186 - 226"},"PeriodicalIF":0.1,"publicationDate":"2012-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR33202","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339455","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Organografía del bandoneón y prácticas musicales: Lógica dispositiva de los teclados del bandoneón rheinische Tonlage 38/33 y la escritura ideográfica bandoneon的风琴学和音乐实践:bandoneon rheinische Tonlage 38/33键盘的配置逻辑和表意文字
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2012-11-02 DOI: 10.7560/LAMR33201
M. Krapovickas
{"title":"Organografía del bandoneón y prácticas musicales: Lógica dispositiva de los teclados del bandoneón rheinische Tonlage 38/33 y la escritura ideográfica","authors":"M. Krapovickas","doi":"10.7560/LAMR33201","DOIUrl":"https://doi.org/10.7560/LAMR33201","url":null,"abstract":"The bandoneon, a musical instrument created in Germany, is considered the instrument that structures tango as a defined musical genre. This paper focuses on the bandoneon keyboard layout in order to demonstrate the organizational logic behind it. It also considers the musical practices in use when this instrument was adopted in the Rio de la Plata area. From these historical perspectives we can begin to explain why this instrument spread so widely in the area and why it became a key instrument of tango.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"33 1","pages":"157 - 185"},"PeriodicalIF":0.1,"publicationDate":"2012-11-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.7560/LAMR33201","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Danzar para que el mundo no se acabe. Estudio sistemático de la danza rarámuri 跳舞，这样世界就不会结束。raramuri舞蹈的系统研究
IF 0.1 3区 艺术学
LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA Pub Date : 2012-07-01 DOI: 10.7560/LAMR33102
Ángel Acuña Delgado
{"title":"Danzar para que el mundo no se acabe. Estudio sistemático de la danza rarámuri","authors":"Ángel Acuña Delgado","doi":"10.7560/LAMR33102","DOIUrl":"https://doi.org/10.7560/LAMR33102","url":null,"abstract":"The diversity of their dance is one of the principal sources of cultural expression for the Rarámuri, residents of the Tarahumara mountains in northern Mexico. Supported by a review of relevant literature and based on information obtained during eleven months of fieldwork between 2001 and 2005, this article offers a panoramic view of the ethnographic context that surrounds different dances, including musical accompaniment, that contextualizes the diversity of meaning that these dances present. The analysis allows us to think about the roles preserved by cultural manifestations, such as Rarámuri dance and music. Rather than simple diversions, they constitute a way of thinking and acting in the world aimed at preventing its end.Habitantes de la sierra Tarahumara, al norte de México, los Rarámuri tienen en su diversidad dancística una de sus principales fuentes de expresión cultural. Con el apoyo de la pertinente consulta bibliográfica y en base a los datos obtenidos durante los 11 meses de trabajo de campo entre 2001 y 2005, en el presente informe se ofrece una visión panorámica del contexto etnográfico que envuelve a las diferentes danzas, con sus formas y acompañamiento musical, para seguidamente situarnos en torno a la diversidad de sentidos que en el plano funcional poseen cada una de ellas. Todo lo cual nos permite reflexionar sobre los papeles desempeñados por una manifestación cultural, como es la danza y música rarámuri, que lejos de ser una simple evasión constituye una manera de pensar y actuar en el mundo para que éste no se acabe.","PeriodicalId":41979,"journal":{"name":"LATIN AMERICAN MUSIC REVIEW-REVISTA DE MUSICA LATINOAMERICANA","volume":"33 1","pages":"27 - 64"},"PeriodicalIF":0.1,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71339216","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
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