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