Arsenio Rodríguez and the Transnational Flows of Latin by David F. Garcia

By David F. Garcia

Arsenio Rodr guez was once essentially the most vital Cuban musicians of the 20 th century. during this first scholarly examine, ethnomusicologist David F. Garc a examines Rodr guez's existence, together with the conjunto musical combination he led and the hugely influential son montuno variety of tune he created within the Nineteen Forties. Garc a recounts Rodr guez's conflict for attractiveness on the top of mambo mania in long island urban and the importance of his track within the improvement of salsa. With firsthand debts from family members and fellow musicians, "Arsenio Rodr guez and the Transnational Flows of Latin renowned tune "follows Rodr guez's fortunes on a number of continents, speculating on why he by no means loved vast advertisement good fortune regardless of the significance of his track. Garc a makes a speciality of the jobs that race, identification, and politics performed in shaping Rodr guez's song and the trajectory of his musical occupation. His transnational viewpoint has very important implications for Latin American and renowned tune studies."

Show description

By David F. Garcia

Arsenio Rodr guez was once essentially the most vital Cuban musicians of the 20 th century. during this first scholarly examine, ethnomusicologist David F. Garc a examines Rodr guez's existence, together with the conjunto musical combination he led and the hugely influential son montuno variety of tune he created within the Nineteen Forties. Garc a recounts Rodr guez's conflict for attractiveness on the top of mambo mania in long island urban and the importance of his track within the improvement of salsa. With firsthand debts from family members and fellow musicians, "Arsenio Rodr guez and the Transnational Flows of Latin renowned tune "follows Rodr guez's fortunes on a number of continents, speculating on why he by no means loved vast advertisement good fortune regardless of the significance of his track. Garc a makes a speciality of the jobs that race, identification, and politics performed in shaping Rodr guez's song and the trajectory of his musical occupation. His transnational viewpoint has very important implications for Latin American and renowned tune studies."

Show description

Read or Download Arsenio Rodríguez and the Transnational Flows of Latin Popular Music PDF

Similar central america books

VIVA Travel Guides Nicaragua

This June 2010 model is the main up to date go back and forth consultant to Nicaragua to be had wherever. With this advisor you could: - Surf hidden breaks exposed by way of neighborhood surfers - Summit lively volcanoes, zipline over lush rainforest, sit down and sip at one of many country's many natural espresso farms, or dangle your hammock in a distant Caribbean village - glide during the pristine rain woodland that traces the Rio San Juan, tracing the Costa Rican border from Lake Nicaragua to the Caribbean Sea.

Adventure Guide Honduras & The Bay Islands

Honduras is a wonderland of Maya ruins, cloud forests jam-packed with toucans, monkeys and jaguars, tiny villages perched on hillsides. and costs are astonishingly low. Copan is right here, the first Maya cultural heart from four hundred to 800 advert. The Bay Islands with their extraordinary coral reefs trap divers from around the globe.

Western Belize & Guatemala. Belmopan, San Ignacio, Caracol, Tikal & Beyond

We trip to develop — our experience courses convey you the way. event the locations you stopover at extra without delay, freshly, intensely than you are going to another way — occasionally most sensible performed walking, in a canoe, or via cultural adventures like paintings classes, cooking sessions, studying the language, assembly the folk, becoming a member of within the gala's and celebrations.

Extra resources for Arsenio Rodríguez and the Transnational Flows of Latin Popular Music

Sample text

As the Palo Monte proverb "quien rabo mono 'mara mono" goes, Arsenio indulged these audiences with racist fantasies of black inferiority only to infuse the songs with African lexical items and rhetorical aspects of Afro-Cuban oral traditions, condemning slavery and its legacy of racial injustice. "No Spanish! African! " Throughout his career Arsenio continued to denounce racism and express his identification with the black diasporic experience. It is important to Copyrighted Material "I Was Born of Africa" 23 note that in 1947 he had visited Tampa, Florida, lodging in the segregated section of the city, on his way to New York City (see chapter 3).

Yet what had made the conjunto and son montuno style so innovative was in fact Arsenio's and his musicians' deep knowledge and utilization of aesthetic principles and performance procedures rooted in Afro-Cuban traditional music in which Arsenio had been immersed as a youngster in rural areas of Matanzas and La Habana. Drawing from these principles and procedures, Arsenio and his colleagues formulated new ways of performing Cuban son and danzon music that arrangers for big bands soon after adapted and popularized internationally as mambo.

77-78). Fittingly, in "Pobre mi Cuba," Arsenio describes the hardship of the guajiro or rural peasant farmer, whose cacao, tobacco, and sugarcane crops are either worthless or ruined. It is important to note that this song was published and recorded after the fall of the Machado dictatorship, considering that the government was known to send into exile composers whose material was suspected of being subversive. 29 Arsenio's conjunto recorded it more than a decade later in 1951 in Havana. Unfortunately, Cuba's economic and political situation was once again unstable and primed for a dictatorship.

Download PDF sample

Rated 4.82 of 5 – based on 14 votes