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The Puerto Rican Identity
The Puerto Rican Identity
The Puerto Rican Identity
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Recommended: The Puerto Rican Identity
Music as an Indicative of the History of Puerto Rico
During Dr. Lise Waxer’s October 29th lecture she characterized "music" as being indicative of the history of a people, a way of establishing social relations, and being a forum for dialogue. However, upon a critical analysis of the claims within her lecture and the issues discussed within Ruth Glasser’s My Music is My Flag, I believe that modern studies of Puerto Rican popular culture reveal more about the present state of Puerto Rican identity than the historical subjects themselves. It is clear that above all else Puerto Rican musical history, from its evolution on the island and in the diaspora, was created and conditioned by the US colonial system. Therefore, any attempt to elevate its significance may be more of a classed-based attempt to elevate their social position within the context of colonized historical reality.
Before embarking upon this analysis it is important to note that Ruth Glasser is not Puerto Rican. Although she is "a nice Jewish girl" studying the history of Puerto Rican music, the fact that she is not Puerto Rican does not exclude her from misinterpreting the significance of her findings (xv). From the onset of her analysis she presents herself in opposition to "the traditional historian’s" assumptions about Puerto Rican history. She claims that "many popular and scholarly assessments suggest that Puerto Rican musicians have left their own ostensibly meager musical resources behind and [have]‘merely’ adopted Cuban sounds" (3). This opinion, she claims, characterizes Puerto Rican musical culture as being "imported," meaning that it has no self-sustaining historical traditions of its own. Such a claim would also challenge Lise Waxer’s claims which characterize Puerto Rican music as a manifestation of Puerto Rican national history.
Glasser in turn proceeds within her study to describe the numerous historical traditions of Puerto Rican music. Most prominent among these traditions is the fact that many of the early bands under early US colonial rule began as military bands during the First World War. Indeed, the US army band soldiers were examples of the first musical experience during the Puerto Rican Diaspora because their travels to Europe allowed some musician form "a particularly prominent part of the United States Army’s most famous musical ensembles. [For example] the 369th Infantry "Hellfighters" Band" (54). As professional musician these people benefitted greatly by gaining access to more traditional forms of musical skills.
For centuries, music has been defined by history, time, and place. To address this statement, Tom Zè, an influential songwriter during the Tropicália Movement, produced the revolutionary “Fabrication Defect” to challenge oppression as a result from the poor political and social conditions. On the other hand, David Ramsey discusses, in mixtape vignettes, the role of music to survive in New Orleans’ violent setting. Furthermore, “The Land where the Blues Began”, by Alan Lomax, is a film and perfect example to understand under what musical conditions profound ways of communication are made to stand the hard work of cotton plantations. As a result, music plays a crucial role in the sources’ cultures and its creation relies on particular conditions such as the social
The debate on Puerto Rican Identity is a hot bed of controversy, especially in today’s society where American colonialism dominates most of the island’s governmental and economic policies. The country wrestles with the strong influence of its present day colonizers, while it adamantly tries to retain aspects of the legacy of Spanish colonialism. Despite America’s presence, Puerto Ricans maintain what is arguably their own cultural identity which seems largely based on the influence of Spain mixed with customs that might have developed locally.
Released in 1997, Buena Vista Social Club immediately became an international success and won a Grammy Award in 1998. Around the world, especially in U.S. where the album was welcomed most heartily, Ry Cooder was considered the hero of Cuban music (Hernandez 65). Being the producer of the album, Cooder was assumed to discover a “lost treasure” in Cuban culture. However, Tanya Kateri Hernandez, in an article about Buena Vista Social Club, revealed that Juan de Marcos Gonzalez, not Cooder, was the person “who masterminded and facilitated the collaboration.” (Hernandez 62). Also in this article, it is noted that Juan de Marcos Gonzalez “implicitly acquiesced to Cooder’s propagation of the colonial myth for the purpose of ensuring the commercial success of the collaboration.” (Hernandez 64). Other musicians in the Buena Vista Social Club ensemble followed Gonzalez’s step, as there was hardly another choice for them.
In this story, the reader can see exactly how, many Puerto Ricans feel when living on other grounds. Throughout this time, the boy that Rodriguez presents us realizes he has his culture and that he wants to preserve it as much as he can. “Because I’m Puerto Rican”. I ain’t no American. And I’m not a Yankee flag-waver”
“Together the matrices of race and music occupied similar position and shared the same spaces in the works of some of the most lasting texts of Enlightenment thought..., by the end of the eighteenth century, music could embody differences and exhibit race…. Just as nature gave birth and form to race, so music exhibited remarkable affinities to nature” (Radano and Bohlman 2000: 14). Radano and Bohlman pointed out that nature is a source of differences that give rise to the different racial identities. As music embodies the physical differences of human, racial differences are not only confined to the differences in physical appearances, but also the differences in many musical features, including language, tonality and vocal expression. Nonetheless, music is the common ground of different racial identities. “In the racial imagination, music also occupies a position that bridges or overlaps with racial differences. Music fills in the spaces between racial distinctiveness….” (Radano and Bohlman 2000:8) Even though music serves as a medium through which different racial identities are voiced and celebrated individually, it establishes the common ground and glues the differences
Music nurtured the African American tradition and their struggle towards equality in the same century.... ... middle of paper ... ... Greensboro, N.C.: Morgan Reynolds Pub. Carter, D. (2009).
African-American music is a vibrant art form that describes the difficult lives of African American people. This can be proven by examining slave music, which shows its listeners how the slaves felt when they were working, and gives us insight into the problems of slavery; the blues, which expresses the significant connection with American history, discusses what the American spirit looks like and teaches a great deal from the stories it tells; and hip-hop, which started on the streets and includes topics such as misogyny, sex, and black-on-black violence to reveal the reactions to the circumstances faced by modern African Americans. First is about the effect of slave music on American history and African American music. The slave music’s
The belief systems of Hinduism and Buddhism have been around for centuries, and play a pivotal role in many countries around the world. Both Hinduism and Buddhism derive from the same source and area, which naturally gives them similarities, but they differ in many ways as well. These similarities and differences can clearly be seen when looking at how both belief systems approach spiritual fulfillment and the dilemma of how this fulfillment can be achieved.
In order to understand the current situation of Puerto Ricans one must look at their history and retrace the sequence of events that led to the current formation of the Puerto Rican people. An important component of this history is the time Puerto Rico spent under Spanish rule. Studying this portion of Puerto Rican history forces us to acknowledge the contribution the Spaniards, European immigrants, and African slaves had on Puerto Rican identity as we consider it today. This also addresses contemporary debates on Puerto Rican identity. An example of this is evident in an essay written by Jose Luis Gonzales entitled "Puerto Rico : Th Four Storied Country". In the article Gonzales points out what he feels is a disregard toward the African contribution to the Puerto Rican identity. He argues that the first Puerto Ricans were black , based on his interpretation that Africans were the first group to come to Puerto Rico and reproduce who did not have ties to a "motherland" because they were slaves. This is unlike the Spaniard elites and Criolles that demonstrated their commitment and loyalty to Spain. Since they had no other place to go, Puerto Rico was their motherland. Gonzalez also points out that the culture of a region is always the culture of the elite, not the popular culture.
Ragland, Cathy. Música Norteña: Mexican Migrants Creating a Nation between Nations. Philadelphia, PA: Temple UP, 2009. Print.
John F. Szwed resides in Connecticut, and he is currently a professor of anthropology, African-American studies, music, and American studies at Yale University. He has written seven books on music and African-American culture and numerous articles and reviews on similar subjects. Szwed has received honors including a Guggenheim Fellowship and a Rockefeller Foundation Humanities Fellowship.
Poe, E. A. “The Raven.” Bedford introduction to literature: Reading, thinking, writing. 10th ed. Boston: Bedford Bks St Martin’s. 2013. 789-791. Print.
Small, Christopher. Music of the Common Tongue: Survival and Celebration in African American Music. Hanover, NH: U of New England, 1998. Print
Powell, A. (2007). The Music of African Americans and its Impact on the American Culture in the 1960’s and the 1970’s. Miller African Centered Academy, 1. Retrieved from http://www.chatham.edu/pti/curriculum/units/2007/Powell.pdf
As one moves past the initial onslaught of rhythmic beats that calypso has to offer, it is difficult to miss the way in which it reverberates with negative and demoralizing images of women to their male counterparts. Whether it is within the lyrics of Sparrow’s “Drunk and Disorderly” or Square One’s “My Ding-a Ling”, an ample number of verses are often dedicated to making lewd comments about the female body and the suggestive body language described through thinly veiled rhymes and puns, can be offensive depending on the listener. The half naked models being displayed on the various album covers of calypso, soca and rap mix tapes further reinforces these negative connotations. This bandwagon has been jumped upon by many, including the rap genre in the last two decades, wanting to capitalize on a marketing strategy that generally purports to flag consumer attention, playing on their sense of eroticism. The sections titled “Music, Sex, Sexism” and “Woman Rising” within Peter Manuel’s text: Caribbean Currents, dive into the many issues surrounding gender within music as well as female portrayal specifically in calypso. Observations can be made simply by reading through the textual comparisons. Many aspects of this subject area allude to the fact that the issue of gender portrayal in music can be construed differently depending on who the critical listener happens to be. With the increased awareness and heightened sensitivity to the way in which females are portrayed in popular media, it is important to reflect on the impact these lyrics have on male-female relationships within the communities who most often enjoy this music genre.