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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. -
RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House
RED HOT + CUBA FRI, NOV 30, 2012 BAM Howard Gilman Opera House Music Direction by Andres Levin and CuCu Diamantes Produced by BAM Co-Produced with Paul Heck/ The Red Hot Organization & Andres Levin/Music Has No Enemies Study Guide Written by Nicole Kempskie Red Hot + Cuba BAM PETER JAY SHARP BUILDING 30 LAFAYETTE AVE. BROOKLYN, NY 11217 Photo courtesy of the artist Table Of Contents Dear Educator Your Visit to BAM Welcome to the study guide for the live The BAM program includes: this study Page 3 The Music music performance of Red Hot + Cuba guide, a CD with music from the artists, that you and your students will be at- a pre-performance workshop in your Page 4 The Artists tending as part of BAM Education’s Live classroom led by a BAM teaching Page 6 The History Performance Series. Red Hot + Cuba is artist, and the performance on Friday, Page 8 Curriculum Connections an all-star tribute to the music of Cuba, November 30, 2012. birthplace of some of the world’s most infectious sounds—from son to rumba and mambo to timba. Showcasing Cuba’s How to Use this Guide diverse musical heritage as well as its modern incarnations, this performance This guide aims to provide useful informa- features an exceptional group of emerging tion to help you prepare your students for artists and established legends such as: their experience at BAM. It provides an Alexander Abreu, CuCu Diamantes, Kelvis overview of Cuban music history, cultural Ochoa, David Torrens, and Carlos Varela. influences, and styles. Included are activi- ties that can be used in your classroom BAM is proud to be collaborating with and a CD of music by the artists that you the Red Hot Organization (RHO)—an are encouraged to play for your class. -
Omara Portuondo, La Voz Que Acaricia
Omara Portuondo, la voz que acaricia Por ALEJANDRO C. MORENO y MARRERO. En anteriores artículos he profundizado en la vida y obra de grandes compositores de la música latinoamericana de todos los tiempos. Sin embargo, en esta ocasión he considerado oportuno dedicar el presente monográfico a la figura de la cantante cubana Omara Portuondo, la mejor intérprete que he tenido el placer de escuchar. Omara Portuondo Peláez nace en la ciudad de La Habana (Cuba) en 1930. De madre perteneciente a una familia de la alta sociedad española y padre cubano, tuvo la gran fortuna de crecer en un ambiente propicio para el arte. Ambos eran grandes aficionados a la música y supieron transmitir a la pequeña Omara el conocimiento del folklore tradicional de su país. Al igual que su hermana Haydee, Omara inició su trayectoria artística como bailarina del famoso Ballet Tropicana; sin embargo, pronto comenzaron a reunirse asiduamente con personalidades de la talla de César Portillo de la Luz (autor de “Contigo en la distancia”), José Antonio Méndez y el pianista Frank Emilio Flynn para interpretar música cubana con fuertes influencias de bossa nova y jazz, lo que luego sería denominado feeling (sentimiento). No hay bella melodía En que no surjas tú Y no puedo escucharla Si no la escuchas tú Y es que te has convertido En parte de mi alma Ya nada me conforma Si no estás tú también Más allá de tus manos Del sol y las estrellas Contigo en la distancia Amada mía estoy. (Fragmento de “Contigo en la distancia”). Su primera aventura musical como voz femenina tuvo lugar en el grupo Lokibambia, donde conoce a la cantante Elena Burke, quien introduce a Omara Portuondo en el Cuarteto de Orlando de la Rosa (agrupación con la que recorre Estados Unidos en una gira que duró alrededor de seis meses). -
Artelogie, 16 | 2021 Diaspora, De/Reterritorialization and Negotiation of Identitary Music Practic
Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 16 | 2021 Fotografía y migraciones, siglos XIX-XXI. Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores Electronic version URL: https://journals.openedition.org/artelogie/9381 DOI: 10.4000/artelogie.9381 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Iván César Morales Flores, “Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid”, Artelogie [Online], 16 | 2021, Online since 27 January 2021, connection on 03 September 2021. URL: http://journals.openedition.org/artelogie/9381 ; DOI: https://doi.org/10.4000/artelogie. 9381 This text was automatically generated on 3 September 2021. Association ESCAL Diaspora, de/reterritorialization and negotiation of identitary music practic... 1 Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores This text is part of the article “La Rumba de Pedro Pablo: de/reterritorialization of Cuban folkloric, traditional and popular practices in the Madrid music scene of the 21st century” published in Spanish in the dossier “Abre la muralla: refracciones latinoamericanas en la música popular española desde los años 1960”, Celsa Alonso and Julio Ogas (coords.), in Cuadernos de Etnomusicología, Nº 13, 2019, as a result of the Research Project I+D+i: “Música en conflicto en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI)” HAR2015-64285- C2-1-P. -
Con Nombre Propio
CON NOMBRE propio DANIEL SAMPER PIZANO periodismo Con nomBre propio daniel SAMPER PIZANO periodismo Catalogación en la publicación – Biblioteca Nacional de Colombia Samper Pizano, Daniel, 1945-, autor Con nombre propio / artículos de Daniel Samper Pizano ; presentación, Daniel Samper Pizano. – Bogotá : Ministerio de Cultura : Biblioteca Nacional de Colombia, 2018. 1 recurso en línea : archivo de texto PDF (478 páginas). – (Biblioteca Básica de Cultura Colombiana. Periodismo / Biblioteca Nacional de Colombia) ISBN 978-958-5419-91-9 1. Crónicas colombianas - Siglos XX-XXI - Colecciones de escritos 2. Libro digital I. Samper Pizano, Daniel, 1945-, autor de introducción II. Título III. Serie CDD: 070.4409861 ed. 23 CO-BoBN– a1018318 Mariana Garcés Córdoba MINISTRA DE CULTURA Zulia Mena García VICEMINISTRA DE CULTURA Enzo Rafael Ariza Ayala SECRETARIO GENERAL Consuelo Gaitán DIRECTORA DE LA BIBLIOTECA NACIONAL Javier Beltrán José Antonio Carbonell COORDINADOR GENERAL Mario Jursich Julio Paredes Isabel Pradilla COMITÉ EDITORIAL GESTORA EDITORIAL Taller de Edición • Rocca® Jesús Goyeneche REVISIÓN Y CORRECCIÓN DE TEXTOS, ASISTENTE EDITORIAL Y DE INVESTIGACIÓN DISEÑO EDITORIAL Y DIAGRAMACIÓN eLibros CONVERSIÓN DIGITAL PixelClub S. A. S. ADAPTACIÓN DIGITAL HTML Adán Farías CONCEPTO Y DISEÑO GRÁFICO Con el apoyo de: BibloAmigos ISBN: 978-958-5419-91-9 Bogotá D. C., diciembre de 2017 © Daniel Samper Pizano © Revista Credencial © 2017, De esta edición: Ministerio de Cultura – Biblioteca Nacional de Colombia © Presentación y compilación: Daniel Samper Pizano Material digital de acceso y descarga gratuitos con fines didácticos y culturales, principalmente dirigido a los usuarios de la Red Nacional de Bibliotecas Públicas de Colombia. Esta publicación no puede ser reproducida, total o parcialmente con ánimo de lucro, en ninguna forma ni por ningún medio, sin la autorización expresa para ello. -
7 Un Contadino Con La Chitarra Eliades Ochoa, Da Cuba a Wenders
31LIB07A3105 31LIB06A3105 FLOWPAGE ZALLCALL 12 19:49:02 05/30/99 l’Unità DA SENTIRE 7 Lunedì 31 maggio 1999 I nterzone ◆ Moby tutto e tutto da dilettante: batteria, neggiare da barber-shop (in Run On chitarra, pianoforte all’osso, suonato si ascolta una registrazione del 1943 con undito,eccetera.Maquandosfo- di Bill Landford & The Landfordai- glia l’enciclopedia sonora del passa- res) innestati su una tecno piuttosto Gli albori della «nouvelle cuisine» cibernetica to, va soggetto a lampi di genio: «Ol- elementare, irradiano un’aura che tre a queste 18 canzoni - dice - ce ne nessun vocalist o rapper dei giorni tech» (Adnkronos Libri) di Pierfran- gliano, incapaci di individuare al- nelnuovocdsifaritrarreinmodicer- sono altre 200 che furono scritte per nostripuòpossedere.Ilmeritoètutto GIORDANO MONTECCHI cesco Pacoda, uno che della pista da l’internodelcodiceitrattipertinenti. tamente non inneggianti all’intelli- questo album che ancora non era sta- di quella che Barthes chiamava la ballo e della rave generation ha fatto Se abitate a Vipiteno o a Gallipoli vi genza comunemente intesa, vanta to fatto». Il nostro rovista fra le regi- «granadellavoce»:vociantiche,pro- rimadileggerefateunbelrespi- da anni un oggetto di studio. La smi- sarà quasi impossibile distinguere il un primato da Guinness: «Thou- strazioni di musica afroamericana nunce scultoree, fotografie sonore ro: Acid House, Ambient Hou- tragliata di termini mi è venuta dialetto ferrarese da quello ravenna- sand», un suo singolo del 1993, col effettuate nella prima metà di questo -
“Sierra Leone's Refugee All Stars” Transform Tragedy Into
Contact: Cathy Fisher, 212-989-7425, [email protected] Neyda Martinez, 212-989-7425, [email protected] Online Pressroom: www.pbs.org/pov/pressroom “Sierra Leone’s Refugee All Stars” Transform Tragedy Into Inspiring Music, Tuesday, June 26 on PBS’s P.O.V. Series Documentary Executive Produced by Ice Cube “It’s as easy to fall in love with these guys as it was with the Buena Vista Social Club.” – Vanessa Juarez, Newsweek MEDIA ALERT – FACT SHEET Summary: The P.O.V. series (a cinema term for “point of view”) celebrates its 20th year on PBS in 2007. P.O.V. is American television’s longest-running independent documentary series. The film Sierra Leone’s Refugee All Stars (June 26) is scheduled to air in recognition of the United Nations Refugee Agency (UNHCR) World Refugee Day (June 20). P.O.V. is broadcast Tuesdays at 10 p.m. (check local listings), June through September on PBS, with primetime specials in the fall and winter. Description: P.O.V.’s Sierra Leone’s Refugee All Stars by Zach Niles and Banker White (www.pbs.org/pov/sierraleone), Tuesday, June 26 on PBS If the refugee is today’s tragic icon of a war-ravaged world, then Sierra Leone’s Refugee All Stars, a reggae-inflected band born in the camps of West Africa, represents a real-life story of survival and hope. The six-member Refugee All Stars came together in Guinea after civil war forced them from their native Sierra Leone. Traumatized by physical injuries and the brutal loss of family and community, they fight back with the only means they have—music. -
Concert & Dance Listings • Cd Reviews • Free Events
CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 4 Number 6 Nov-Dec 2004 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Music and Poetry Quench the Thirst of Our Soul FESTIVAL IN THE DESERT BY ENRICO DEL ZOTTO usic and poetry rarely cross paths with war. For desert dwellers, poetry has long been another way of making war, just as their sword dances are a choreographic represen- M tation of real conflict. Just as the mastery of insideinside thisthis issue:issue: space and territory has always depended on the control of wells and water resources, words have been constantly fed and nourished with metaphors SomeThe Thoughts Cradle onof and elegies. It’s as if life in this desolate immensity forces you to quench two thirsts rather than one; that of the body and that KoreanCante Folk Flamenco Music of the soul. The Annual Festival in the Desert quenches our thirst of the spirit…Francis Dordor The Los Angeles The annual Festival in the Desert has been held on the edge Put On Your of the Sahara in Mali since January 2001. Based on the tradi- tional gatherings of the Touareg (or Tuareg) people of Mali, KlezmerDancing SceneShoes this 3-day event brings together participants from not only the Tuareg tradition, but from throughout Africa and the world. Past performers have included Habib Koité, Manu Chao, Robert Plant, Ali Farka Toure, and Blackfire, a Navajo band PLUS:PLUS: from Arizona. -
Omara Portuondo English Biography
OMARA PORTUONDO Biography The story of the life of Omara Portuondo (Havana, 1930) reads like something out of a film script. The daughter of a well-to-do family and a mother of Spanish descent, she relinquished everything to marry a handsome black member of the Cuban national baseball team – a fact that she kept secret since mixed marriages were frowned upon in Cuba at that time – Omaraʼs first encounter with music was at a very early age. Just as in any other Cuban home, the future singer and her siblings grew up with the songs which her parents, for lack of a gramophone, sang to them. Those melodies, some of which still form part of her repertoire, were young Omaraʼs informal introduction to the world of music. However, before taking up singing as a career, a fortuitous event led her to first try her hand at dancing, following in the footsteps of her sister Haydee, who was a member of the dance company of the famous Tropicana cabaret. One day, in 1945, two days before the opening night of a big new show, one of the dancers gave in her notice. Having watched her sister rehearse for hours on end, Omara knew the steps by heart and so was offered the vacant place in the company. “It was a very classy cabaret”, Omara recalls, “but it didnʼt make any sense. I was a shy girl and was embarrassed at showing my legs”. It was her mother who actually convinced her not to let the opportunity go by and so she began a dancing career that led her to form a legendary duo with Rolando Espinosa and, in 1961, to become a teacher of popular dance at the Escuela de Instructores de Arte. -
Folder Roberto Ohne Beschnitt Marken.Indd
Roberto Fonseca AKOKAN Born in 1975 (Havana) into a musical family, Roberto Fonseca – career took an unexpected turn. “I went to the EGREM studios to re- despite having been described in many different ways (“the most cord Angá Díaz’s album, invited by him, and when I got there I saw promising and important talent in Cuban music”, “A true revelation many people who were legends to me …, Rubén González, Cachaíto who stands out among pianists of his generation”) – remains faithful López, Guajiro Mirabal…… in two months my whole life changed.” to the wish he has had since the beginning of his career: ”I want my music to reach people who don’t know me, and I dream of one day Shortly afterwards, he was invited to be support pianist to the great becoming a point of reference for my audience…” maestro Rubén González, as part of the renowned Orquesta de Ib- rahim Ferrer and that same year he joined the management com- He started studying piano at the age of 8, though his initial passion pany Montuno. “My God, sharing the stage every night with Rubén was percussion. This interest from such an early age would clearly González was a real dream; I’d just stay there, staring at him play influence his trademark “percussive” piano-playing style. His first for hours”. A dream that toured all over the world, with over 400 “job” was as the drummer for a band doing covers of Beatles songs. concerts, promoting Ibrahim Ferrer’s records next to great legends At the age of 14, he created his first compositions, drawing inspi- such as Cachaíto López, Guajiro Mirabal and Manuel Galbán, among ration from the Afro-Cuban genre: “At school we used to regard others. -
Roberto Fonseca Band Feat. Omara Portuondo Roberto Fonseca Piano
Autour du monde / iPhil 13–17 ans / Luxembourg Festival 2014 Mercredi / Mittwoch / Wednesday 12.11.2014 20:00 Grand Auditorium Roberto Fonseca Band feat. Omara Portuondo Roberto Fonseca piano, keyboards, vocals Joel Hierrezuelo Cuban percussions, coros Ramsés Rodríguez drums Yandi Martínez bass, double bass Omara Portuondo vocals Dans le cadre de Luxembourg Festival L’éternelle pulsation Roberto Fonseca Band feat. Omara Portuondo Guillaume Bregeras La main droite attaquant les aigus du clavier. La gauche suspen- due en l’air. Les yeux clos puis grands ouverts, le regard perdu loin. Très loin. Roberto Fonseca accompagne chacune des notes de «Llego Cachaito», hymne pour ses fidèles, par un trait saillant qui jaillit de son visage. Expressif, il l’est. Attachant, tout autant. Suspendu, au-dessus de tout, lorsqu’il s’installe derrière son pia- no, l’icône de la nouvelle génération des maîtres cubains marche sur l’air. La loi de la gravité ne semble pas s’appliquer à lui com- me à ses semblables, c’est aussi simple que cela. Pour compren- dre sa musique, il faut lâcher prise, la laisser infuser dans son esprit comme une évidence. Délicieuse évidence… Un tempo d’avance Sans en rajouter, il indique la route à suivre avec grâce. Il est de la trempe de ceux qui connaissent instinctivement la voie, la bonne voie. Ceux qui créent le chemin là où personne n’imagine passer. Comme un maître d’échec, il anticipe toujours un coup d’avance. Cette dynamique, aussi inexplicable qu’elle puisse être en musique, se comprend pourtant très bien. Elle est d’abord le fruit d’une réflexion, d’une préparation. -
JUAN DE MARCOS & the AFRO-CUBAN ALL STARS After
JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS After gaining international fame for reviving the classic sound of Cuban son, tres master Juan de Marcos turned the Afro-Cuban All Stars into a sensational showcase for Cuba’s most prodigious young musicians. While long revered in Latin America and Europe as a founding member of Cuba’s great son revival band Sierra Maestra, de Marcos first gained notice in the US as founder of the Buena Vista Social Club. It was de Marcos who assembled Ibrahim Ferrer, Eliades Ochoa, Ruben Gonzalez and the rest of the crew for Ry Cooder when he came to Havana looking for illustrious old timers. But de Marcos is just as interested in promoting Cuba’s brilliant young musicians as in highlighting Cuba’s senior talent. The Afro-Cuban All Stars not only features a rotating, multi-generational cast; the group draws on both classic Cuban styles, like son and danzón, and contemporary dance rhythms like timba. “What I’m trying to do is create a bridge between contemporary and traditional Cuban music,” de Marcos says. “I’m trying to mix both things so people can realize that Cuban music didn’t stop in time, that it developed in this long period when Cuban music disappeared from the market.” Juan de Marcos was born in Havana in 1954 and grew up surrounded by music (his father was a singer and played with Arsenio Rodríguez amongst others). At university he studied hydraulic engineering and Russian before working as a consultant at the Agronomic Science Institute, gaining his doctorate in 1989.