Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba PDF
Preview Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba
GEOGRAPHIES OF CUBANIDAD .d e vre se r sth g ir llA .ip p ississiM fo sse rP ytisre vin U .5 1 0 2 © th g iryp o C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, .d e vre se r sth g ir llA .ip p ississiM fo sse rP ytisre Anton L. Allahar and Natasha Barnes vin Series Editors U .5 1 0 2 © th g iryp o C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, GEOGRAPHIES OF CUBANIDAD Place, Race, and Musical Performance in Contemporary Cuba .d e vre ser sth Rebecca M. Bodenheimer g ir llA .ip p ississiM fo sse rP ytisre vin University Press of Mississippi / Jackson U .5 1 0 2 © th g iryp o C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, www.upress.state.ms.us Te University Press of Mississippi is a member of the Association of American University Presses. Lyrics of Clave y Guaguancó’s song “Para Gozar, La Habana” reprinted courtesy of Cuba Chévere. Lyrics of Los Van Van’s song “La Habana No Aguanta Más” repro- duced courtesy of Termidor Musikverlag and Timba Records. Lyrics of Orquesta Original de Manzanillo’s song “Soy Cubano y Soy de Oriente” reproduced courtesy of Tumi Music. Lyrics of Adalberto Álvarez y Su Son’s song “Un Pariente en el Campo” reproduced courtesy of Bis Music. Lyrics of Afrocuba de Matanzas’s song “Tambor” reproduced courtesy of Francisco Zamora Chirino. Lyrics of Afrocuba de Matanzas’s song “Baila mi Guaguancó” repro- duced courtesy of Francisco Zamora Chirino. Lyrics of Afrocuba de Matanzas’s song “Caridad” reproduced courtesy of Francisco Zamora Chirino. All images courtesy of the author unless otherwise noted. Photo of Pancho Quinto playing guarapachangueo reproduced cour- tesy of Sven Wiederholt. Portions of chapter 1 and chapter 2 frst appeared in a 2009 article published in the Musical Quarterly (Bodenheimer 2009). Copyright © 2015 by University Press of Mississippi .d All rights reserved e vre Manufactured in the United States of America se r sth First printing 2015 g ir llA ∞ .ip Library of Congress Cataloging-in-Publication Data p ississiM Bodenheimer, Rebecca M., author. fo Geographies of cubanidad : place, race, and musical performance in contemporary Cuba / Rebecca sse M. Bodenheimer. rP pages cm. — (Caribbean studies series) ytisrevin ISBN 978-1-62846-239-5 (c lIontchl u: daelks. bpiabplieorg)r —ap hISicBaNl r 9e7fe8r-e1n-6c2es6 7a4n-d6 8in4d-8e x(.ebook) 1. Popular music— U .5 Cuba—History and criticism. 2. Music and race—Cuba—History. 3. Regionalism in music. I. Title. 10 ML3486.C82B64 2015 2 © 781.64097291—dc23 2014048860 th g iryp British Library Cataloging-in-Publication Data available o C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, For Julián, and in memory of my dear Tutu, for whom music was everything .d e vre se r sth g ir llA .ip p ississiM fo sse rP ytisre vin U .5 1 0 2 © th g iryp o C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, This page intentionally left blank .d e vre se r sth g ir llA .ip p ississiM fo sse rP ytisre vin U .5 1 0 2 © th g iryp o C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, Contents ix Acknowledgments 3 Introduction 25 CHAPTER ONE Regionalism and the Intersections of Race and Place in Cuba 58 CHAPTER TWO “La Habana No Aguanta Más”: Regionalism in the Lyrics of Cuban Popular Music 86 CHAPTER THREE “Conciencia de Caribeñidad”: Regionalism, Folklore Oriental, and Santiago’s Caribbean Connection 124 CHAPTER FOUR Racialized Discourses of Place and Rethinking the “Cradle of Afro-Cuban Culture” 160 CHAPTER FIVE Localizing Hybridity .d e vre ser sthg 2 04 CThHeA PPoTEliRti cSsI Xo f Place and National Traditions: Race, Regionalism, and the Relationship ir llA between Rumba and Son .ip p ississiM 235 Conclusion fo sserP 241 Glossary ytisre vin 249 Notes U .5 1 0 2 © 285 References th g irypo 297 Index C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, This page intentionally left blank .d e vre se r sth g ir llA .ip p ississiM fo sse rP ytisre vin U .5 1 0 2 © th g iryp o C Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba, Acknowledgments No es fácil—“It’s not easy.” Tis most ubiquitous of Cuban expressions extends to the process of conducting research on the island. Te research and writ- ing of this book has only been possible with the support and collaboration of many diferent individuals and institutions in Cuba and the United States, and I feel extremely fortunate to have been able to freely conduct feldwork on the island for the past decade. As a Mellon Postdoctoral Fellow in the Arts and Humanities at Hamil- ton College from 2010 to 2012, I was provided with generous research funds that allowed me to conduct research in Cuba in 2011, particularly in Santiago, and to begin writing this book. I also received funding and assistance from a number of divisions at the University of California, Berkeley, including the Music Department, the Graduate Division, and the Center for Latin Ameri- can Studies. I had the privilege of working with various prominent schol- ars at UC Berkeley—particularly in the departments of African American Studies, Ethnic Studies, and Geography—and my theoretical frameworks and methodological approaches owe a great deal to the guidance of these individuals, specifcally Percy Hintzen, Alex Saragoza, Allan Pred, and Nelson Maldonado-Torres. Te Music Department was a supportive and intellectu- ally stimulating environment for my formation as a scholar and teacher. I am .d evre grateful for the generous fnancial assistance I was given and want to espe- se cially acknowledge the longstanding trio of ethnomusicologists in the depart- r sthg ment—Bonnie Wade, Ben Brinner, and Jocelyne Guilbault—and to thank ir llA them for their encouragement over the past decade. I feel fortunate to have .ip pississiM wploinrke,e wd hwoi thha sB aolnwnaiyes Wshaodwen, aa lgeraedaitn dge aflg oufr ein itner aesntd i nc hmaym pprioofne sosifo onuarl ddeivsceil-- fo opment. Ben Brinner has always reminded me of the importance of engaging sserP with musical sounds and provided insightful, candid feedback about my writ- ytisre ing. Jocelyne Guilbault has consistently cheered me on and ofered sage pro- vin fessional advice and invaluable comments and critiques about my writing. U .5 Her attention to cultural politics—specifcally the ways that race and national 1 0 2 © identity are imbricated with musical performance—is mirrored in my own thg research interests. Most importantly, she introduced me to cultural studies iryp o C ix Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba,
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