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The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.
The Music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources of Puerto Rico have primarily included European, Indigenous, and African influences, although many aspects of Puerto Rican music reflect origins elsewhere in the Caribbean. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from essentially native genres such as bomba, danza, and plena to more recent hybrid genres such as salsa, Latin trap and reggaeton. Broadly conceived, the realm of "Puerto Rican music" should naturally comprise the music culture of the millions of people of Puerto Rican descent who have lived in the United States, especially in New York City. Their music, from salsa to the boleros of Rafael Hernández, cannot be separated from the music culture of Puerto Rico itself.
Alejo Carpentier y Valmont was a Cuban novelist, essayist, and musicologist who greatly influenced Latin American literature during its famous "boom" period. Born in Lausanne, Switzerland, of French and Russian parentage, Carpentier grew up in Havana, Cuba, and despite his European birthplace, he strongly identified as Cuban throughout his life. He traveled extensively, particularly in France, and to South America and Mexico, where he met prominent members of the Latin American cultural and artistic community. Carpentier took a keen interest in Latin American politics and often aligned himself with revolutionary movements, such as Fidel Castro's Communist Revolution in Cuba in the mid-20th century. Carpentier was jailed and exiled for his leftist political philosophies.
Orishas are a Cuban hip hop group from Havana, Cuba, founded in 1999. The group was first called "Amenaza", "threat" or "menace" in Spanish, and appealed to the Cuban youth. The choice of this name for the hip hop group is a way of creating a direct link between this band and the African diaspora. The group is based in France where they made a deal with a record company, although they visit Cuba frequently. In 1999 Fidel Castro threw a party for them and had a meeting with all the musicians. It was the first time the Cuban government showed support for hip hop music. The group was and still is popular in Europe and Latin America. Yotuel Romero and Ruzzo Medina, who moved from Havana to Paris as part of an international studies program, joined Roldán González and Flaco-Pro to form the band in 1999. Their work is influenced by the hip hop movement as well as Cuban and other Latin rhythms. As of October 2009, they had produced a total of five studio albums and a greatest hits album; their latest album is Gourmet. In 2009 they participated in the concert Paz Sin Fronteras II in Plaza de la Revolución, Havana, Cuba. Orishas reunited to record new material in 2016.
Hip hop music arrived in Cuba via radio and TV broadcasts from Miami. During the 1980s hip hop culture in Cuba was mainly centered on breakdancing. But by the 1990s, with the collapse of the Soviet Union and the onset of the Special Period, young raperos, exposed to foreign tourists whose wealth highlighted their struggle, turned to rapping to affirm their cubanidad and advocate for further revolutionary reforms.
Son cubano is a genre of music and dance that originated in the highlands of eastern Cuba during the late 19th century. It is a syncretic genre that blends elements of Spanish and African origin. Among its fundamental Hispanic components are the vocal style, lyrical metre and the primacy of the tres, derived from the Spanish guitar. On the other hand, its characteristic clave rhythm, call and response structure and percussion section are all rooted in traditions of Bantu origin.
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Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. Afro-Cuban jazz emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop.
Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas, during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka, as well as the Spanish-based coros de clave. According to Argeliers León, rumba is one of the major "genre complexes" of Cuban music, and the term rumba complex is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba, as well as their contemporary derivatives and other minor styles.
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Sara Gómez aka Sarita Gómez was a Cuban filmmaker. As a member of ICAIC during her early years, she was one of only two black filmmakers in attendance. She was the institute's first and for her lifetime, Cuba's only, woman director. Gómez is known for her first and final feature-length film De Cierta Manera (1974) y Perros no ladraron. Gómez was a revolutionary filmmaker, concerned with representing the Afro-Cuban community, women's issues, and the treatment of the marginalized sectors of society. Sara Gómez's filmmaking identifies the problems of colonialism, specifically experienced by previously marginalized communities who were unaware of the possibilities of a better future. "Exposing the roots of the world that had to be left behind and demanding the arrival of the future: her mission was to allow these communities to understand the process of what was happening in their lives, their needs, and possible departures." Gómez's work highlighted inequalities of social class, as well as racial and gender discrimination. She used the lens of her camera and ethnographic knowledge to narrate histories about everyday lives in revolutionary Cuba.
Alberto Alén Pérez was a Cuban musicologist and cellist.
Throughout the years, the Cuban nation has developed a wealth of musicological material created by numerous investigators and experts on this subject.
Hip hop feminism is a sub-set of black feminism that centers on intersectional subject positions involving race and gender in a way that acknowledges the contradictions in being a black feminist, such as black women's enjoyment in hip hop music and culture, rather than simply focusing on the victimization of black women in hip hop culture due to interlocking systems of oppressions involving race, class, and gender.
Nomadic Massive is an independent Canadian hip hop supergroup based in Montreal, active since 2004. They have achieved fame in Canada, the United States, Brazil, and France, among other international venues. The membership of the band varies with each song, but their ensemble includes rappers, singers, keyboardists, saxophonists, trumpeters, trombonists, guitarists, bass players, and drummers. Many of the musicians are multi-instrumentalists and trade spots onstage. The group's official members are vocalists Waahli, Taliwah, Meryem Saci, and Lou Piensa, as well as musicians Butta Beats and Ali Sepu. With lyrics in diverse languages, including English, French, Creole, Spanish, and Arabic, Nomadic Massive celebrates global music interpreted through an Afro-Latin twist with hip hop as the main medium of expression. They have been a staple of the Montreal International Jazz Festival for several years.
Evelyn McDonnell is an American writer and academic. Writing primarily about popular culture, music, and society, she "helped to forge a new kind of feminism for her generation." She is associate professor of journalism and new media at Loyola Marymount University.
Pedro Pérez Sarduy is an Afro-Cuban writer and broadcaster, who has published poetry and fiction, in addition to journalism. He gives lectures and reads his work at academic institutions internationally and is currently resident in London, UK.
Eusebia Cosme Almanza was an Afro-Cuban poetry reciter and actress who gained widespread fame in the 1930s. Because of racial segregation, Cosme did not pursue an acting career in the traditional Cuban theater, instead focusing on the art of declamation, or poetry reading. She was the sole Cuban woman and one of the few black women to participate in African-themed declamation. Her performances went beyond reciting the poems, as she used gestures, facial expression and vocal rhythm to convey the emotion of the written word. Focusing on works that served as social commentary on race, gender, and the disparity of the position of blacks in both Latin America and the United States, Cosme was recognized as a master of her craft. Beginning her career in variety shows, she performed in Cuba until the late 1930s, before embarking on international tours.
References
- ↑ Orovio, Helio. Cuban music from A to Z. Tumi Music Ltd. Bath, UK. 2004. P. 123.
- ↑ "Alberto Faya". Discogs. Retrieved 2017-03-17.
- ↑ "Cuba Standard Business Familiarization Tour: A People to People Educational Exchange In partnership with Cuba Cultural Travel". Cuba Standard. Retrieved 2017-03-17.
- ↑ Journalism, UNC School of Media and. "The Real Queens: Two female rappers in Havana, Cuba challenge stereotypes through their beats". Cuba's New Wave. Retrieved 2021-06-17.
- ↑ Pérez, Louis A. (2006-10-17). Cuban Studies 37. University of Pittsburgh Press. ISBN 978-0-8229-7108-5.
- ↑ Journalism, UNC School of Media and. "The Real Queens: Two female rappers in Havana, Cuba challenge stereotypes through their beats". Cuba's New Wave. Retrieved 2021-06-17.
- 1 2 Lecture on Cuban Musical Culture, Institute Casa de San Martin, Centro de Estudios Martianos, Professor Alberto Faya, 8 March 2017.
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