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El Corazón De Cuba Educational Program Curriculum
International Bicycle Fund 4887 Columbia Drive South, Seattle WA 98108-1919 USA +1-206-767-0848 ~ [email protected] ~ www.ibike.org A non-governmental, nonprofit organization promoting bicycle transport, economic development and understanding worldwide. El Corazon de Cuba Educational Program Curriculum Small group, multidiscipline, educational program. The objective of the program is to strengthen your knowledge to better enable you to participate in important public policy discussion on a wide range of topics that affect your life. The program provides and opportunities to comparing and contrasting the work environment, quality of life, social programs, political structure and policies, economic policy and structure, environment, and culture that you are familiar with, to those of Cuba. Day-to-day, on an ongoing basis throughout the program there will be opportunities to meet people, small group discussion with Cubans and excursions and presentations on history, architecture, culture, ethnic diversity, social systems, gender rights and roles, politics, agriculture, mining, industry, fisheries, music, language, religion, geology, botany, and ecology. The following curriculum fails to include literally hundreds of serendipitous people-to-people encounters when we purposefully visit small towns and villages to by snacks and refreshment to talk to people, and ask questions and strike up conversations. Ironically, some of the most meaningful and enlightening people-to-people contacts are the hardest, and virtually impossible, to document. Day 1: “Anatomy of the capital of the Capital: Introducing information on the history and change of Havana, and specifically Vedado ”: architecture (residential and commercial), use patterns (park boulevard, parks, residential and commercial), public institutions (schools, hospitals (8, including cardio and oncology)), religious institutions (churches, convents and two synagogue), monuments and statues (John Lennon, socialist world leaders, military, politician, intellectuals, Jose Marti) and transportation. -
A Comparative Case Study of the Political Economy of Music in Cuba and Argentina by Paul Ruffner Honors Capstone Prof
Music, Money, and the Man: A Comparative Case Study of the Political Economy of Music in Cuba and Argentina By Paul Ruffner Honors Capstone Prof. Clarence Lusane May 4, 2009 Political economy is an interpretive framework which has been applied to many different areas in a wide range of societies. Music, however, is an area which has received remarkably little attention; this is especially surprising given the fact that music from various historical periods contains political messages. An American need only be reminded of songs such as Billy Holliday’s “Strange Fruit” or the general sentiments of the punk movement of the 1970s and 80s to realize that American music is not immune to this phenomenon. Cuba and Argentina are two countries with remarkably different historical experiences and economic structures, yet both have experience with vibrant traditions of music which contains political messages, which will hereafter be referred to as political music. That being said, important differences exist with respect to both the politics and economics of the music industries in the two countries. Whereas Cuban music as a general rule makes commentaries on specific historical events and political situations, its Argentine counterpart is much more metaphorical in its lyrics, and much more rhythmically and structurally influenced by American popular music. These and other differences can largely be explained as resulting from the relations between the community of musicians and the state, more specifically state structure and ideological affiliation in both cases, with the addition of direct state control over the music industry in the Cuban case, whereas the Argentine music industry is dominated largely by multinational concerns in a liberal democratic state. -
Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture
Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández University of Wisconsin-Eau Claire Occasional Paper #97 c/o Center for Latin American and Caribbean Studies University of Wisconsin-Milwaukee PO Box 413 Milwaukee, WI 53201 http://www4.uwm.edu/clacs/ [email protected] Fernández 1 Cuba “Underground”: Los Aldeanos, Cuban Hip-Hop and Youth Culture Manuel Fernández The genre most frequently mentioned in U.S. university textbooks and anthologies when discussing Cuba’s recent musical production is the nueva trova , which developed soon after Fidel Castro came to power. The first edition of Más allá de las palabras (2004), to cite just one example of an intermediate Spanish language textbook, uses the trovistas Pablo Milanés and Silvio Rodríguez as examples of “contemporary” Cuban musical artists (204). Books on Cuba aimed at monolingual English speakers also depend largely on the nueva trova when attempting to present Cuba’s current musical production. The Cuba Reader: History, Culture, Politics (2003), an anthology of texts dating back to Columbus, uses samples from Silvio Rodríguez’s music on two occasions, in a chapter dedicated to the international aspects and impact of the Cuban Revolution and once again in a chapter dedicated to Cuba after the fall of the Soviet Union. Without discounting the artistic merit and endurance of the nueva trova or the numerous trovistas , the use of this music (the heyday of which was primarily in the 1960s to early 1980s) as a cultural marker for Cuban culture today seems distinctly anachronistic. It would be analogous to using music from World War II era United States to describe the events and sentiments of the 1960s. -
The Nueva Trova: Frank Delgado and Survival of a Critical Voice Lauren E
CHAPTER 4 The Nueva Trova: Frank Delgado and Survival of a Critical Voice Lauren E. Shaw The nueva trova is not a genre or an artistic school. Rather, it is a musical movement that is not characterized by a particular style. As a movement, it belongs more to a certain ideology and way of life than to a certain time period. The musical forms it encompasses are many: bolero, guaguancó, guajira, guaracha, danzón, son and ballad. Some troubadours even include reggae and rap into their repertory. It is the ballad, however, that is used most frequently due to its flexibility of form that can accommodate more adeptly to lyrics. The nueva trova emerged in Cuba at the end of the sixties with singer- songwriters Silvio Rodríguez and Pablo Milanés as its two-main founders. It has come to be associated with the ideological, historical and social-political context of the Cuban Revolution. In fact, in the last few decades, its songs have conveyed the impact of socialism on the island. Although it is part of the world-wide movement of protest songs in the sixties, the nueva trova is unique, due to the political situation in Cuba. Some of the foremost artists taking part in this international song form are: Pete Seeger, Bob Dylan and Joan Baez in the United States; Violeta Parra and Víctor Jara in Chile; Mercedes Sosa in Argentina; Oscar Chávez and Amparo Ochoa in México; Roy Brown in Puerto Rico and Joan Manuel Ser- rat, Paco Ibáñez, Luis Llac and Raimón in Spain. Insisting on social justice, these artists strove to raise consciousness and to speak out against oppressive social and political systems. -
Cuba Rebecca Bodenheimer
Cuba Rebecca Bodenheimer LAST MODIFIED: 26 MAY 2016 DOI: 10.1093/OBO/97801997578240184 Introduction This article treats folkloric and popular musics in Cuba; literature on classical music will be included in the article entitled “Classical Music in Cuba.” Music has long been a primary signifier of Cuban identity, both on and off the island. Among small nations, Cuba is almost unparalleled in its global musical reach, an influence that dates back to the international dissemination of the contradanza and habanera in the 19th century. The 1930s constituted a crucial decade of Cuban musical influence, as the world was introduced to the genre son (mislabeled internationally as “rumba”/”rhumba”) with the hit song “El Manicero.” In the 1990s Cuban music underwent yet another international renaissance, due to both the emergence of a neotraditional style of son related to the success of the Buena Vista Social Club project, and the crystallization of a new style of Cuban dance music called timba. Moreover, Afro Cuban folkloric music has enjoyed increased visibility and attention, and has become a focal point of the tourism industry that the Castro regime began to expand as a response to the devastating economic crisis precipitated by the fall of the Soviet Union in 1991. Research on Cuban music has a long and distinguished history that began in earnest in the late 1920s and 1930s with the publications of Cuba’s most celebrated scholar, Fernando Ortiz. Many of Ortiz’s students, such as musicologist Argeliers León and folklorist Miguel Barnet, went on to form the backbone of Cuban folklore research after the Revolution in 1959. -
New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community
Copyright by Tara Elgin Hurst 2010 The Report Committee for Tara Elgin Hurst Certifies that this is the approved version of the following report: A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community Approved by Supervising Committee: __________________________ Robin Moore, Supervisor __________________________ Stephen Slawek A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community By Tara Elgin Hurst, B.A. Masters Report Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Music The University of Texas at Austin August 2010 Acknowledgements For my children Kathryn and Peter. Special thanks to Robin Moore, Stephen Slawek and Michael Seamus O‘Brian. iv Abstract A “Newer” New Song: Nueva Canciόn in the Life and Music of Lourdes Pérez: Intersections of Politics, Identity and Community Tara Elgin Hurst, M.Music The University of Texas at Austin, 2010 Supervisor: Robin D. Moore Commonly known as nueva canciόn in Puerto Rico or nueva trova in Cuba, ―new song‖ is a 60-year-old genre, a musical form resonant with political overtones. This thesis examines the life and music of Lourdes Pérez, a Puerto Rican singer working in the nueva canciόn tradition. Pérez, who has lived in the U.S. for 20 years, is dedicated through her compositions to create a ―newer song,‖ a form of socially engaged music based on artists of the past but addressing contemporary issues. -
Harmonic Metaphors in Silvio Rodríguez S Songs
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Manabe, Noriko Lovers and rulers, the real and the surreal: harmonic metaphors in Silvio Rodríguezs songs Trans. Revista Transcultural de Música, núm. 10, diciembre, 2006, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82201013 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Harmonic Metaphors in Silvio Rodríguez’s Songs Revista Transcultural de Música Transcultural Music Review #10 (2006) ISSN:1697-0101 Lovers and Rulers, the Real and the Surreal: Harmonic Metaphors in Silvio Rodríguez’s Songs Noriko Manabe CUNY Graduate Center December 2006 Abstract: This article, which analyzes 136 of Silvio Rodríguez’s over 500 songs and provides a close reading of seventeen, highlights musical patterns that recur in songs with similar themes across three periods: 1967-1970, when Rodríguez was censured; 1971-1989, when nueva trova became institutionalized; and post-1990, in Cuba’s Special Period. Differing viewpoints and emotions are often set in different keys (“Debo partirme en dos” (1969)); songs with a political message are set in simple repeating patterns (“Resumen de noticias” (1969)); and many of his love songs are highly chromatic or harmonically unstable (“Ojalá” (1969)). Double-plagal progressions often signify fatalism and never-ending struggle (“Sueño con serpientes” (1974), “Reino de todavía” (1994)). Analyses are complemented by pdf, 4Mb. -
“¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova
“¿QUÉ DICE USTED?”: DISCOURSES OF FEMININITY IN NUEVA TROVA CUBANA by JULIANNE L. GRAPER A THESIS Presented to the School of Music and Dance and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Master of Arts June 2014 THESIS APPROVAL PAGE Student: Julianne L. Graper Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana This thesis has been accepted and approved in partial fulfillment of the requirements for the Master of Arts degree in the School of Music and Dance by: Juan Eduardo Wolf Chairperson Loren Kajikawa Member Carlos Aguirre Member and Kimberly Andrews Espy Vice President for Research and Innovation; Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded June 2014 ii © 2014 Julianne L Graper iii THESIS ABSTRACT Julianne L. Graper Master of Arts School of Music and Dance June 2014 Title: “¿Qué Dice Usted?”: Discourses of Femininity in Nueva Trova Cubana Following the Revolution of 1959, the Cuban government implemented policy reforms geared towards increasing women’s rights. Despite these efforts, however, sexism persists in Cuban society. This difference between rhetoric and reality is reflected in the song genre, nueva trova, which foregrounds a progressive agenda for women’s rights but continues to marginalize their participation. Prominent nueva trova performers Silvio Rodríguez and Pablo Milanés advocate women’s rights in their songs, but their music remains couched in patriarchal structures that prevent women from speaking for themselves. Sara González, one of the first prominent female nueva trova composers, was able to integrate into government-supported trova institutions by adopting a masculine, revolutionary aesthetic, which she then adapted to feminist themes to combat the ideological disparity. -
Redalyc."Somos Cubanos!"
Trans. Revista Transcultural de Música E-ISSN: 1697-0101 [email protected] Sociedad de Etnomusicología España Froelicher, Patrick "Somos Cubanos!" - timba cubana and the construction of national identity in Cuban popular music Trans. Revista Transcultural de Música, núm. 9, diciembre, 2005, p. 0 Sociedad de Etnomusicología Barcelona, España Available in: http://www.redalyc.org/articulo.oa?id=82200903 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Somos Cubanos! Revista Transcultural de Música Transcultural Music Review #9 (2005) ISSN:1697-0101 “Somos Cubanos!“ – timba cubana and the construction of national identity in Cuban popular music Patrick Froelicher Abstract The complex processes that led to the emergence of salsa as an expression of a “Latin” identity for Spanish-speaking people in New York City constitute the background before which the Cuban timba discourse has to be seen. Timba, I argue, is the consequent continuation of the Cuban “anti-salsa-discourse” from the 1980s, which regarded salsa basically as a commercial label for Cuban music played by non-Cuban musicians. I interpret timba as an attempt by Cuban musicians to distinguish themselves from the international Salsa scene. This distinction is aspired by regular references to the contemporary changes in Cuban society after the collapse of the Soviet Union. Thus, the timba is a “child” of the socialist Cuban music landscape as well as a product of the rapidly changing Cuban society of the 1990s. -
LA MÚSICA COMO INSTRUMENTO DE PROTESTA OBRERA EN PUERTO RICO Carlos R
LA MÚSICA COMO INSTRUMENTO DE PROTESTA OBRERA EN PUERTO RICO Carlos R. Carrión Crespo Índice Introducción . ....................................................................................................................... 1 La música, el arma de los trabajadores.............................................................................. 2 La bomba, música de rebelión de los afrodescendientes del siglo XIX . ............................. 4 La décima: música de resistencia contra la plantación ..................................................... 6 Y llegan los gringos: La cultura como frente de lucha política ......................................... 7 Los himnos: los sindicatos se enaltecen ............................................................................. 9 La plena: el diario de los trabajadores ............................................................................ 11 Las consignas: el ritmo al servicio del mensaje . .............................................................. 16 De la concentración al piquete . ........................................................................................ 18 La música de protesta boricua en Nueva York . ................................................................ 19 El “nuevo sindicalismo:” el caso de Taoné ..................................................................... 21 La música grabada: los trabajadores se sirven de la tecnología . .................................... 23 Conclusión ....................................................................................................................... -
Guantánamo, Cuba
José Cuenca Sosa * ANTROPOLOGÍA Changüí, nengón y mucho más. Las músicas tradicionales en Guantánamo, Cuba Guantánamo, la provincia más oriental de Cuba, es una región mar - cada por diversas culturas: aborigen, hispánica, africana, europea, nortea - mericana y antillana. Desde el siglo XVIII hasta la década de 1950 hombres y mujeres procedentes de Haití, Jamaica, Santo Domingo, Puerto Rico y otros países han marcado su historia y forjado su cultura, de indudable acento caribeño. En Guantánamo conviven y se mezclan al changüí, la tumba francesa, el son, la rumba, la conga, el punto guajiro, el merengue, el gagá, el jazz… hasta llegar al rap y el reguetón. Las colonias guantanameras de haitianos, jamaicanos, puertorriqueños y sus descendientes son de las mayores de Cuba. En el panorama músico-cultural guantanamero el changüí y la tumba francesa ocupan por su singularidad los lugares principales y están unidos en su devenir histórico y social, así como en su entorno geográfico, sien - do decisivo el papel de las migraciones haitianas, cuyos descendientes han sido los cultivadores por excelencia de ambos géneros. Las tumbas francesas se remontan a 1790, con las primeras oleadas migratorias procedentes de Santo Domingo. Estas fiestas, organizadas por los esclavos de los colonos franceses, fueron incorporando progresivamen - te a los criollos cubanos y se convirtieron en elementos del folclor nacio - nal. En ese mismo escenario, los cafetales de las lomas guantanameras, tiene su origen el changüí, reflejo de tradiciones familiares que cristalizan a lo largo del siglo XIX , lo mismo sucedía a la zona de Baracoa con los nen - gones y el kiribá. -
Looking Through a Prism: Questioning Cuban Music and Cuban Music Research1
Looking Through a Prism: Questioning Cuban Music and Cuban Music Research1 Sue Monk2 The University of Queensland Representations of Cuban music in the Western world have been predominantly confined to dance genres or nostalgic love songs from before the 1959 revolution. More recently there has been a focus on genres such as reggae and hip-hop, suggesting that these are expressions of ‘black identity’ for an increasingly disempowered section of the Cuban population. However, many ‘Afro-Cuban” contemporary singer-songwriters (trovadores) follow a long tradition of provocative commentary on society through a broad category of song known as ’trova’. As Cuban music has negotiated its way back into the global music industry, in spite of the U.S imposed economic blockade, trovadores are discussing what identity means in today’s context. This paper attempts to tease out ideas behind competing notions of identity. I will be drawing on discussion held with trovadores in Cuba, as well as ideas of race and colour in relation to the construction of identity. Edward Said’s “politics of cultural representation” and the role of the media in “pacification [and] the depoliticization of ordinary life” will also be explored to develop an understanding of the problems associated with essentialising notions of blackness. “Nueva trova – a Castro supported Cuban singer-songwriter movement” (Party, 2003, p. 5). “nueva trova, the one post-revolutionary musical tradition perceived by some cultural bureaucrats as challenging the state” (Fairley, 2004, p. 77). “Cuba is the only country in which new song3 is not protest music and where it is recognized and institutionally supported as an art form….