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Panamanian Música Típica and the Quest for National and Territorial Sovereignty

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Panamanian Música Típica and the Quest for National and Territorial Sovereignty “Cien por Ciento Nacional!” Panamanian Música Típica and the Quest for National and Territorial Sovereignty Melissa Gonzalez Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 ©2015 Melissa Gonzalez All Rights Reserved ABSTRACT “Cien por Ciento Nacional!” Panamanian Música Típica and the Quest for National and Territorial Sovereignty Melissa Gonzalez This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama’s rural-urban divide and the country’s nascent engagement with the global political economy. Though regarded as emblematic of Panama’s national folklore, música típica is also the basis for the country’s principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that música típica can offer rich insight into the politics of working out individual and national Panamanian identities. Based on eighteen months of ethnographic fieldwork conducted in Panama City and several rural communities in the country’s interior, I examine the social struggles that subtend the emergence of música típica’s genre variations within local, national, and transnational contexts. Through close ethnographic analysis of particular case studies, this work explores how musicians, fans, and the country’s political and economic structures constitute divisions in regards to generic labeling and how differing fields of musical circulation and meaning are imagined. This study will first present an examination of late nineteenth and twentieth century Panamanian nationalist discourses in order to contextualize música típica’s stylistic and ideological development as a commercial genre of popular music. The following chapter will construct a social history of música típca that takes into account the multiple historical trajectories that today’s consumers and producers engage, negotiate, and contest in an attempt to ascribe social and cultural meaning to the role the genre assumes in contemporary discourses of national identity. Processes of folkloric canonization and reconstruction will then be examined in order to understand how the marketing efforts of the Panamanian government draw on a discourse of nationality. The role of corporate sponsorship in today’s música típica scene will also be investigated, specifically addressing how the marketing of this genre by beer companies, national cultural festivals, and the Panamanian television industry builds on a foundation of commercial music practices. Subsequent chapters will focus on the local and transnational dynamics of genre formation and dissolution as revealed in the ideological discourses and socio-musical practices of música típica’s practitioners, especially in accordion and vocal performance practices. An analysis of música típica’s field of cultural production, with its particular mappings of identity, place, and sound, will provide insight into Panamanian modernity and the social experiences of Panamanians, especially within Latin American and global contexts. TABLE OF CONTENTS Acknowledgments ii List of Figures v Introduction: Panama Sounding Out 1 1. Isthmian Imaginations: Victorio Vergara and The Shaping of Panamanian Nationalism 42 2. Panamanian Música típica: A Selective Social History 93 3. “¿Como se llama Nuestra Música típica?”: Confronting the Question of Typicality 145 4. The Soul of Música típica: Examining the Socio-Cultural Life of the Accordion 195 5. Sonic Spirits Singing to the Motherland: Negotiating Female Vocality in Panamanian Música típica 258 Conclusion 330 References Cited 340 i ACKNOWLEDGMENTS Research for this project was funded by the Columbia University International Travel Fellowship, the Ford Foundation Dissertation Fellowship, The Tinker Foundation, the Institute of Latin American Studies at Columbia University, the Woodrow Wilson Foundation, the Mellon Foundation, and the Social Science Research Council. Thank you for providing me with the tools and resources necessary to complete this project, for which I am very grateful. I offer my most heartfelt thanks to the members of my committee, professors Christopher Washburne, Aaron Fox, Ana Maria Ochoa, Amanda Minks, and Travis Jackson for all your years of support, encouragement, and incisive feedback. I also wish to thank my colleagues at Columbia University who were willing to review my roughest drafts without judgment and offer invaluable constructive criticism: Lauren Ninoshvili, Farzi Hemmasi, Niko Higgins, Daphne Carr, Simón Calle, Ryan Skinner, Morgan Luker, and Toby King. A special thanks goes out to Renato Thoms, Eugenio Ortiz, and Randy Guzman who encouraged me to consider Panama as a possible fieldwork site. To that end, they both put me in contact with friends and family living in and around Panama City. Many thanks, in particular, to Maria Thoms, Dino Nugent, David Bobadilla, Itziak Gómez Vega, Roland Chapin, and Nora Gantes de Goch for being gracious hosts during my multiple trips to Panama, and for connecting me with musicians and folklorists who would serve as invaluable research consultants. Liliana Ayala went far beyond her role as my Spanish instructor during my stay in Panama. In addition to helping me improve my Spanish conversational skills, Liliana ii assisted me in transcribing my interviews and even acted as my “chaperone” at musical events located beyond my geographical comfort zone of Panama City. Gracias desde el fondo de mi corazón! I cannot thank Marino Jaén enough for the invaluable assistance he offered me throughout the fieldwork and writing stages of my dissertation. Marino’s website (www.panamatipico.com) provided a critical entry point for my research and his timely responses to my initial email inquiries helped me prepare for my stay in Panama. When I got there, Marino connected me with various música típica musicians, composers, impresarios, and festival coordinators who were all very much willing to be interviewed for this project. When I returned home, Marino continued to offer feedback on my research whenever I needed it. I cannot thank you enough! Your passion for Panamanian folklore and música típica is inspiring and I look forward to a future collaborative effort. This project would not have been possible without the support and encouragement of friends I have made in Panama, which are too numerous to list. I wish to extend a special thanks to Aceves Nuñez and Ricaurte Villarreal at the Dirección de Cultura de Panamá who played an active role in the development of my project. Thank you for sharing your knowledge of Panamanian folklore and popular culture with me, the countless hours of instrumental instruction, introductions to important contacts in the música típica scene, and for your support and encouragement. Others who have contributed immensely to this project include: Abdiel Nuñez, Dorindo Cardenas, Adonis Cardenas, Alejandro Solis, Alfredo Escudero, Balito Chan, Christian Quintero Hernandez, Eduardo Amaya, Eduardo Domínguez, Fito Espino, Isaac De Leon, Manuelito Gomez, Jorge Aquiles Domínguez, Kenny Alexander, Leonidas Moreno, Lusi iii Herrera, Oscar Poveda, Osvaldo Ayala, Peregrina Frias, Rafael Taylor, Samy Sandoval, Sandra Sandoval, Sergio Cortes, Ulpiano Vergara, Victor Cardenas, David Vergara, Efraín González, Raúl Vital. My good friends Galal Chater and Melanie Domino back home in New York City proved to be my greatest sounding boards, reviewing early versions of my dissertation and providing much-needed copyediting and astute feedback. I cannot thank you enough for the intellectual and emotional support you have offered me during the writing process. I cannot thank my immediate family enough for their unwavering love and support: my mother Carmen, father Salvador, sister Emily, and brothers Sal Jr. and Jonathan. Lastly, I wish to thank Jon Darling for bringing love and laughter into my life. Your calm presence, inexhaustible patience, and gentle words of encouragement made all the difference. iv LIST OF FIGURES Figure 1.1 Map of Panama’s nine provinces. 15 Figure 1.2 Map of Panama’s provinces and comarcas. 15 Figure 1.3 Map of the Azuero Peninsula. 18 Figure 1.4 Image of a sign posted at a cantina in the city of Guararé. 37 Figure 4.1 A young accordionist competing in the Concurso Infantil de Acordeones Didio Borrero at the 2007 Festival Nacional de la Mejorana. 229 Figure 4.2 Participants of the 2007 Concurso de Acordeón Rogelio Gelo Córdoba at the Festival Nacional de la Mejorana. 229 Figure 4.3 Francisco Abdiel Camarena, winner of the first Cuna de Acordeones Atlas, competing before a live studio audience. 237 Figure 4.4 Juan Torrente, one of the hosts of Cuna de Acordeones Atlas, interviewing two of the show’s contestants. 237 Figure 5.1 Samy and Sandra Sandoval performing at Jardín El Suspiro in April 2007. 264 Figure 5.2 The political cartoon “¡Saloma!” by Victor Ramos López, La Prensa, June 1, 2003. 281 v INTRODUCTION: PANAMA SOUNDING OUT “How do you feel about doing a project on a music genre that doesn’t have a name?” A young musician named Felix posed this question to me towards the end of an interview I was conducting with his instructor, the esteemed Panamanian accordionist Nano Córdoba.
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