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The Buena Vista Phenomenon: Constructions of Cuban Musical Identity

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The Buena Vista Phenomenon: Constructions of Cuban Musical Identity University of Huddersfield Repository Reavell, Oliver The Buena Vista Phenomenon: Constructions of Cuban Musical Identity Original Citation Reavell, Oliver (2016) The Buena Vista Phenomenon: Constructions of Cuban Musical Identity. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/29100/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. 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For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ The Buena Vista Phenomenon: Constructions of Cuban Musical Identity Oliver Reavell A thesis submitted to the University of Huddersfield in fulfilment of the requirements for the degree of MA Music by Research The University of Huddersfield June 2016 SYNOPSIS Cuba is a fascinating Caribbean island that has succeeded in leaving an important musical legacy, the Buena Vista Social Club being one of the most successful exports of the last twenty years. This thesis will consider the impact of the 1996 recording project, Buena Vista Social Club, on the global perception of Cuban identity. It serves as a vehicle to explore the cultural formation of identity in Cuban music, which will apply the ideas of globalisation, transnationalism as well as critically engaging with concepts of nostalgia, political ideology and racial identity in music. I will present a wide spectrum of perspectives on Cuban music, using a range of source material in order to produce a balanced and informative document on Cuban musical identity ACKNOWLEDGEMENTS I would like to thank Sophie, my parents Jeremy and Virginia, Alice, and my tutor Dr Catherine Haworth for their generosity, advice and most of all, patience. Also, I would like to acknowledge those that I met during my time in Cuba for their kindness, hospitality, dedication to their art and their attempts to teach me to salsa dance. COPYRIGHT STATEMENT The author of this thesis (including any appendices and/or schedules to this thesis) owns any copyright in it (the ―Copyright‖) and she has given The University of Huddersfield the right to use such copyright for any administrative, promotional, educational and/or teaching purposes. Copies of this thesis, either in full or in extracts, may be made only in accordance with the regulations of the University Library. Details of these regulations may be obtained from the Librarian. This page must form part of any such copies made. The ownership of any patents, designs, trademarks and any and all other intellectual property rights except for the Copyright (the ―Intellectual Property Rights‖) and any reproductions of copyright works, for example graphs and tables (―Reproductions‖), which may be described in this thesis, may not be owned by the author and may be owned by third parties. Such Intellectual Property Rights and Reproductions cannot and must not be made available for use without the prior written permission of the owner(s) of the relevant Intellectual Property Rights and/or Reproductions. 2 TABLE OF CONTENTS SYNOPSIS ................................................................................................................................................. 2 ACKNOWLEDGEMENTS ........................................................................................................................... 2 COPYRIGHT STATEMENT ......................................................................................................................... 2 TABLE OF CONTENTS ............................................................................................................................... 3 LIST OF FIGURES ...................................................................................................................................... 4 CHAPTER 1: INTRODUCTIONS ................................................................................................................. 5 1.1 PREFACE- UN BUEN ROLLO EN BRIGHTON ................................................................................... 5 1.2 THESIS OVERVIEW ......................................................................................................................... 7 1.3 THE BUENA VISTA NARRATIVE ...................................................................................................... 9 1.4 THE SIGNIFICANCE OF BUENA VISTA SOCIAL CLUB .................................................................... 10 CHAPTER 2: CUBAN MUSIC, HISTORY AND POLITICS ............................................................................ 12 2.1 COLONISATION............................................................................................................................ 12 2.2 TRANSCULTURAL MUSIC MAKING .............................................................................................. 13 2.3 A NEW ORDER- VIVA LA REVOLUCIÓN ........................................................................................ 16 2.4 NEW GENERATIONS .................................................................................................................... 18 2.5 REBUILDING THE BRIDGE OVER TROUBLED WATER ................................................................... 21 CHAPTER 3: CRITICAL DISCUSSIONS ON CUBAN MUSIC. ...................................................................... 22 3.1 MEMORIES OF A TROPICAL PLAYGROUND ................................................................................. 22 3.2 POLITICAL IDEOLOGY AND MUSICAL CULTURE .......................................................................... 24 3.3 GLOBALISATION AND THE TRANSNATIONAL FLOW OF CULTURE .............................................. 27 CHAPTER 4: AN EXPLORATION OF THE SELF-TITLED ALBUM BUENA VISTA SOCIAL CLUB. .................. 28 4.1 ‘THE COODER PARADIGM’ .......................................................................................................... 29 4.2 THE WORKS, INSTRUMENTATION AND LYRICS ........................................................................... 30 4.3 ‘CHAN CHAN’ IN FOCUS. ............................................................................................................. 32 4.4 ISSUES OF MUSICAL AUTONOMY ............................................................................................... 33 4.5 ‘FILLING IN THE GAPS’: AFROCUBISM AND DISTINTO DIFERENTE .............................................. 35 CHAPTER 5: BRAND AND RECEPTION. .................................................................................................. 38 5.1 THE MISSING VOICE- CUBAN MUSIC ON THE WORLD MUSIC CIRCUIT ...................................... 38 5.2 BUENA VISTA IN THE AGE OF SOCIAL MEDIA ............................................................................. 41 5.3 BUENA VISTA! TONIGHT! EVERYWHERE! .................................................................................... 47 CHAPTER 6: CONCLUSIONS ................................................................................................................... 54 BIBLIOGRAPHY ...................................................................................................................................... 57 DISCOGRAPHY ....................................................................................................................................... 60 3 LIST OF FIGURES Figure 1: Orquesta Buena Vista at the Royal Albert Hall, London. 5 April 2015. .................................... 5 Figure 2: The Clave ................................................................................................................................ 14 Figure 3: Fidel's rebel army is welcomed in Havana, Jan 1959. ............................................................ 16 Figure 4: Government Billboard. Bloque- 'The largest genocide of history' ........................................ 17 Figure 5: Los Van Van in concert, Karl Marx Theatre, June 2007. ........................................................ 20 Figure 6: Position of mics and musicians during Buena Vista recording, EGREM studio 1996. ........... 29 Figure 7: The Orquesta Buena Vista 'Pasaporte' Concert ..................................................................... 43 Figure 8: Havana D'Primera and Orquesta BVSC Facebook pages. Accessed 27 August 2015. ........... 46 Figure 9: 'Buena Vista Social Club' at Hotel Nacional, June 2009 ......................................................... 47 Figure 10: Fiesta del Tambor official publicity poster ........................................................................... 49 Figure 11: Ticket for NG La Banda Concert. .......................................................................................... 52 LIST OF MUSICAL EXAMPLES Table 1: 2-3 Son Clave & 2-3 Rumba Clave Patterns ............................................................................
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