Cumbia serves as a unifier of Mexican people, especially families, and serves as a sociocultural outlet for celebration and upholds cultural traditions. A main theme of Mexican culture is togetherness of the family, and many celebrations create a community and place for family involvement. Celebrating together creates and maintains bonds and is an outlet for expression sharing commonalities such as cultural thoughts and ideas. Solidifying a connection in the community with people that listen to cumbia strengthens the culture and forms unity. Mexican cumbia is a significant aspect of Mexican identity and produces a gateway environment for embracing heritage and reflects a highly family and community oriented culture.
Cumbia originated in the coastal region of Colombia in the early 1800’s. There were three predominant cultures in Colombia at that time: the indigenous peoples, the Spaniards, and the African slaves. The cumbia began with the essential instrumentation of the tambor drums and the gaita flutes, which derive from both indigenous and Congo-based African roots. The genre was entertainment for the slaves, beginning as a courtship dance. It later became an outlet for national resistance and protest as Colombia was contesting for its independence. The music was able to diffuse throughout the nation, spreading from the coast, primarily for the reason that many African populations were scattered in various regions. Barranquilla, a port city in Colombia, was the core of where the music became established and played for the masses, and where instruments such as horns and bass began to be incorporated into cumbia, giving it a more Latin feel. As cumbia evolved and spread to Mexico around the 1930’s, it changed from the influence o...
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Canciones de arargue, or songs of bitterness – was the original name for the creolized form Bachata. Many closely associate Bachata with the other Caribbean styles of the African diaspora such as merengue and son. In Intro to Music Cultures of the World we were tasked with attending a world music concert. I chose to attend a Bachata concert because I already had an interest in Caribbean music. The concert was not as I had expected, but was rather intriguing and thoroughly enjoyable. In this report I hope to analyze Bachata’s roots, report on its concert style, and compare it to another piece in the genre.
Music comes in many shapes and forms, and has been a magical element of inspiration and encouragement throughout time. The art of music derives from many different things, such as culture and traditions. One such type of music is mariachi music, deriving from Mexican culture and traditions. Mariachi music is often an upbeat rhythm, consisting of a band of up to six to eight violins, two trumpets and a guitar. Unlike modern music and other music bands alike, mariachi bands lack in numbers when it comes to band size. Though they are small, their music brings great significance and life to the places they perform and the people that they touch with their joyous music. In this paper, I will be comparing the culture and style of mariachi music to twentieth century modern music.
...ating with each other and these are the same values that are being passed on to this generation. The dancers in South-central Los Angeles, uses this form of art to express their feelings and it a form of communicating just like their ancestors did back in there days. At the same time, it allows them to have a much deeper connection with their roots.
To better understand why samba represents the Brazilian’s national identity, one has to understand the history of Brazil and samba. Samba can be heard all throughout Brazil. It is a musical genre complemented by song and dance that includes a group of percussion instruments and guitar. The puxador (lead singer) starts the samba, occasionally singing the same song for hours at a time. The obligation of maintaining thousands of voices in time with the drum rests on his shoulders. Bit by bit, the other members of the escola (samba group) come in, and with a whistle from the mestre de bateria (percussion conductor) - the most exciting moment of the parade occurs as the percussion section crashes in. The surdos (bass drums) keep the 2 / 4 meter, while caixas (snare drums) and tamborins accent the second beat. This percussion ensemble, speak of as the 'bateria', frequently includes instruments such as the agogo (double bell) and reco-reco (scraper), as well as the prato, repique, pandeiro, tamborim, and ganzathe. The only stringed instrument is the great pitched cavaquinho (ukulele). Together these instruments combine to create polyrhythms that cross and align, contrast and reinforce with each other in an animated style less formal than marcha or maxixe. Couples often dance to samba in physically tight, close movements similar to the lambada and l...
Natividad Cano had a passion for mariachi music that drove his desire to change the stereotypical social relations associated with mariachi music. However, many traditionalists accused Cano for breaking away from traditional elements and commercializing mariachi music as a meaningless choreographed form that would appeal to western audiences (Shay, 2006, p. 77). I see the positive results of Cano’s strive to take mariachi music out of the stereotypical local cantinas and onto the stages of national concert halls, where the artistic value of mariachi music can be truly appreciated by a widespread audience.
The Chicana/o identity is a composition of cultural pride, consciousness, and commitment to activism. Cultural pride in the Chicano social identity emphasizes mestizaje, which is the mixture of Spanish and indigenous races. Consciousness refers to Chicanos being aware of their unfair historical and contemporary treatment while being committed to bringing change to the Mexican-American people. The commitment to social activism is bringing change to the community through education, politics, and economics. According to Lopez, Chicano Rap is a “subgenre of Rap music as well as Latin Hip Hop.” It is used as a medium to communicate the hardships and barriers faced by the Mexican immigrant community (Lopez,
This is a critical acclaim encyclopedic production in which reflects on as well as celebrates the history of the roots of rhythm the popular sounds we call Latin music, to the tribal celebrations in African jungles and the wild carnivals which focuses on array artists such as Gloria Estefan, Tito Puente, Dizzy Gillespie, Desi Arnaz, Celia Cruz, Ruben Blades, Isaac Oviedo, King Sunny Ade also the rare archival footage features Dizzy Gillespie's 1948 number "Manteca," bandleader Xavier Cugat's "Gypsy Mambo," and a cartoon clip of Donald Duck doing "Tico Tech
The Folklorico group presentation I was honored to observed was the “Grupo Folklorico Juventud” from North Salinas High School. I decided to attend to this presentation because I use to be part of this Folklorico group. I also enjoy watching the dances for the reason that I believe they are beyond beautiful. It is amazing how a simple dance could transmit so much information while representing a region from Mexico. From my observation experienced, I noticed every region has different movements and customs for a reason. While observing the presentation I noticed most women used long skirts to create different shapes. They usually create the eight shape, half a circle or an entire circle which is created when the dancer does an entire spin while holding and moving their skirt. The skirt is also moved in different levels, such as high, medium, and low. The two levels that are used in most of the dances is the high and the medium level. While dancing the men and women usually do the same steps and movements. All the dances include “zapateados” which are known as foot dances or stomps. The “zapateados” are usually done with different parts of the feet such as the toe, heel and the sole of the feet. The dances include “zapateados” with different sections of the feet because every part creates a different sound. Most of the dances also include jumps and turns. It is extremely important for the
Bachata originated from the Dominican Republic in the early 20th century. During dictator Trujillo’s rule, Merengue was the official music to the nation. Because many Dominicans did not accept their African roots, their dances and rhythms were oppressed. Bachata, with its African influences, was considered crude and lower class, only played by campesinos- peasants. It was only popular in the rural parts of the Dominican Republic. However beginning in the early 60s, bachata was steady becoming tolerated, and eventually loved. (Pacini)
According to his review of A Guide to Latin American Music by Gilbert Chase, Charles Seeger describes Chase’s description of the music culture, “The quantitative distribution of more than 2700 entries, which include some multiple listing, is interesting” (Seeger, 1946, 304). Chase explains a plethora of countries in Latin America and their specific musical features. Furthermore, thanks to his detailed work, the reader can see how many common features can be seen. Firstly, a common feature among all genres is the use of aerophones. The aerophones used could include, panpipes of various varieties, flutes, trumpets (as seen at the Boogat performance in Ottawa) and many more. Another common feature among all the genres is a strong rhythmic presence. In essentially all Latin American music, a steady, metrical rhythmic quality can be heard keeping the music energetic and easy to follow. To keep the rhythm, another common feature to Latin American culture is the drum. Most commonly found in the Afro-Latin genre, as a result of influence from African culture, can be seen throughout Latin America. A popularized western form of this type of music, is that of mariachi. Finally, Latin American culture is known for its vibrancy in their music. The music is generally quite expressive of feelings, strong moral messages found in protest songs, and their colorful, elaborate