Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba

323 Pages·2015·4.02 MB·English

by  Rebecca M. Bodenheimer

GEOGRAPHIES OF CUBANIDAD
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Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba,
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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
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ser sth Rebecca M. Bodenheimer
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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
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.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
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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
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Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba,
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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
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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
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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
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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
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thg research interests. Most importantly, she introduced me to cultural studies
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Bodenheimer, Rebecca M.. Geographies of Cubanidad : Place, Race, and Musical Performance in Contemporary Cuba,