By David F. Garcia
Arsenio Rodr guez used to be some of the most very important Cuban musicians of the 20th century. during this first scholarly examine, ethnomusicologist David F. Garc a examines Rodr guez's existence, together with the conjunto musical mixture he led and the hugely influential son montuno form of tune he created within the Forties. Garc a recounts Rodr guez's conflict for acceptance on the top of mambo mania in ny urban and the importance of his track within the improvement of salsa. With firsthand bills from kinfolk and fellow musicians, "Arsenio Rodr guez and the Transnational Flows of Latin well known song "follows Rodr guez's fortunes on a number of continents, speculating on why he by no means loved vast advertisement luck regardless of the significance of his song. Garc a makes a speciality of the jobs that race, id, and politics performed in shaping Rodr guez's tune and the trajectory of his musical profession. His transnational standpoint has vital 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
The fact that the exponents of afrocubanismo were primarily white middle-class intellectuals and artists probably stimulated Copyrighted Material "I Was Born of Africa" 19 more resentment and suspicion on the part of their black critics. No other black writer was more emphatic in his or her rejection of Afro-Cuban traditions and the tenets of afrocubanismo than Alberto Arredondo, who in the pages of Adelante (Onward), a black middle-class magazine, evoked the ideals of mestizaje and superaci6n in his critiques: "It is logical that what began to be known as 'Cuban music' during the colonial era, was a mix of African and Spanish rhythms, although the marked improvement of the former continued to get stronger" (Arredondo 1938).
IS Arsenio's characterization of his music as African certainly resonated with the theme of the program and the broader political and social Copyrighted Material 18 CHAPTER ONE environment of the 1960s, marked by the civil rights movement in the United States and the black power movements throughout the African diaspora. Through the 1930s in Cuba, however, recognizing one's African heritage with pride and praising the African contribution to the nation were largely condemned as tantamount to harboring antiwhite racist and unpatriotic sentiments (Helg 1995, p.
A closer examination of his afrocubanos, however, reveals that in redeploying these dominant signs of blackness Arsenio engaged in a parody of a parody, a reversal of received racist conventions, or what Henry Louis Gates Jr. has referred to as "repetition with a difference" (Gates 1988, pp. 106-10). 19 As linguist John Lipski notes, the speech of bozales or African-born slaves formed as a Copyrighted Material 20 CHAPTER ONE hybrid structure consisting of a Spanish (or pidgin Spanish) morphosyntactic frame with an African lexical core.
Arsenio Rodríguez and the Transnational Flows of Latin Popular Music by David F. Garcia