Creating an Identity through Music in the USA (Hispanic/Latino Community) - Essay Example

Creating an Identity through Music in the USA (Hispanic/Latino Community) It is worthy that the Hispanic/Latino community is uniquely inventive of their music just as the rest of the Caribbean people back in the Caribbean countries. This is because of the presence of almost different rhythms for every Island, Cuba, Puerto Rico, Jamaica and Dominican Republic. Some of these different versions of music include Calypso and Reggae as well as Salsa and merengue. However, some islands do have all the versions of music, and the distinguishing feature of Caribbean music and the rest is that the music is lively, fast, and explosive . Some argue that Caribbean music is at times about complaint well as societal annotations, but it is nearly always about dancing. New York has been claimed to be Latinized due to the high population of Latin Americans who migrated from the Caribbean. This is evidenced by a boom of dance classes, and the increased popularity of the Latin music (Montes and Davila 1). This is a sign of a different culture in the US that is easily identifiable by its kind of music. This shows the importance of music for the Caribbean people. Therefore, the mambo montage that has been extensively used by Latin Americans in New York is a depiction of the mix that exists among different past worlds as well as artistic genre. The Latin identity is, thus, the precise location of these people of the Caribbean origin that live in the US in a historical location. This location has particular details of histories, linkages as well as global placement that work in unison to bring out the identity of Caribbean people. It is, thus, noteworthy that Caribbean music has come from far to reach where it is now, and this paper will delve into the Caribbean music by focusing on Puerto Rico, Trinidad and Jamaican music to ascertain its contribution to the creation of these peoples’ identity in US, New York City. Puerto Rican music Puerto Rico is an island in the Caribbean and its music history dates back to the days of before Governor Roosevelt. There existed much cultural miscommunication between Puerto Ricans and North Americans with Puerto Ricans demanding for official support within art tradition that is European based. With this they wanted their music to be perceived as that of Europeans where they had production houses instead of being dismissed as outdated. Conversely, the American governor was just sympathizing with the Caribbean musicians, but not working to preserve the native genres as well as instruments. This translated into long term effects as well as instantaneous political costs. However, this contradiction explains the complexity of the history of the cultural development during the colonial times where the governor dictated what was to be done concerning the preservation of music in the Island. This means that music did not develop much during those times mainly because of economic and political structures and circumstances (Glasser, 14). It is noteworthy that it is these cultural, political and economic situations that resulted in the migration of many musicians of the Island to New York in search for freedom and sale of their music. This was a strategy for their survival, but this could later have consequences to both cultural Puerto Ricans in and outside New York (Glasser 15) The immigrants in New York could connect with their homeland music by listening to the sounds that were made by the long caravan of carts as a means to break monotony. However, this did not compare to their homeland pastoral, paradise singing in farms, and this music was further disadvantaged by the development of media in the 20th century. This is because it was during this time when North America ruled over Puerto Rico, and this allowed invasion of other musical forms especially from Cuba, Argentina and Mexico, and at the same time discouraging the local talent and music. In spite of all these this music has created an identity to the Puerto Ricans both on the island and in the US. This is because their musical styles and cultural movements continue providing some of the sites and moments of culture that are defined by continuity, transformation, heritage, fusion and roots (Glasser, 15). According to Las-Montes and Davilla, latinidad has been used as a form of self identification from the rest of the people to articulate a sense of community, for it denotes one or more of the referents of people (7). Meanwhile, Cuban music has developed a variety of musical styles, most of which are of the European and African descent. This music has grown to be one of the world’s best since the start of the recording technology, and this is evidenced by the popularity of salsa and Rhumba especially in New York. In as much as this region has Indian traditions, none of its music captures this, instead, they feature fusions and mixtures of European and African origins (Daskowitz 130). This is because of the large numbers of African slaves and European immigrants who moved to Cuba, and went along with their own form of music. The music originated from the fact that slaves were in defiance of their masters, and, therefore, needed to form songs to aid in their communication. In addition, it was incorporated in areas that warranted celebrations where slaves would derive pride by dancing to their native music (Daskowitz 132). Some of its popular music includes son and jazz with rumba being of the African heritage. However, the modern day form of Cuban music has really diverged from the novel form and has grown to be influenced by power and even drugs. However, it still maintains its rebelliousness nature and focuses majorly on men’s supremacy over females. In addition, the powerful are usually shown in the videos holding Cuban cigars in their hands and blowing the smoke towards the cameras (Moskowitz 120). This situation has resulted in many of behaviors of the youth who form gang groups at an early age. Jamaican music has come from a faint past to its present status with noteworthy contributions of a Chinese community, especially of Charlie Moo and other producers of Bob Marley songs (Kanellos et al. 302). However, significant acknowledgement is reserved for a Chinese Jamaican, Randy Chin who went to establish a recording house that has developed into the current VP Records in New York. According to Moskowitz, researches done by agencies such as UN determined Jamaican music as the best solution for growth in economy, expansion of export , and creation of youth employment not forgetting a means of poverty reduction (123). Mento’s influence on Jamaican music has been determined to have been due to enjoyment and not monetary gains. However, this music evolved from Ska era in the 1950s to Rock steady, reggae and finally dancehall (Moskowitz122). The fact is that February is notable as Reggae month both locally and worldwide. It may not be a coincidence that Black History month is celebrated the same month. The perception that came out of reggae music is incontestable, for it has functioned to bring the Jamaicans together. It is also noteworthy that Reggae music has always been stalwartly connected to the Rastafarian faith, making the music culturally important (Kanellos et al. 302). Even though the Jamaicans themselves rejected this because of its association of Rastafarianism, but the music was accepted elsewhere because it voiced the problems of the oppressed, the poor as well as those who had been excluded socially. Dominican Republic music Merengue is a type of music that is native to the Dominican Republic. This genre of music is represented best by the likes of Angel Gloria and Francis Ulloa among some thousand musicians. However, the contemporary versions have been influenced by salsa and other forms of music, but the call and response pattern of the music has been conserved (Vernom 85). This music is characterized by live and wild dancing and it literary and ironically refers to the issues of politics and sexuality. However, this music was relegated to the lower classes – a situation that helped Rafael Trujillo assume the presidency in 1930. This is because the president used the notion of developing the music to international levels which had been undermined by the outgoing regime to woe most Dominicans. This bore fruits, for later on, the music was developed by the president to become a national symbol. This can be determined by the many merengue songs that antagonized the dictatorship of the country as well as praising the good guidelines and actions of the party (Kanello et al. 301). It is argued that music is the way of life for Dominican people, and this is evidenced by the street dancing, and is sometimes said that their children start dancing even before they walk which is not true. In as much as Derengue is the main music form, there are other forms such as Bachata and Dominican rock. Therefore, as Lao-Montes and Davila (2001) put it, the framework in regard to the historical context in which Latino identities emerged and developed should be tied to the majestic contact zone where there was an encounter that brought together the Caribbean and the US (14). Therefore, this zone should be referred to as a transculturation in which the imperial and colonial locations engage in unequal exchanges and struggles concerning power (Waxer, 92). However, much seems to be going on with increased flows of communication of people and exchange of goods especially between New York with Cuba and Dominican Republic (Waxer, 94). This implies that their struggles have finally paid by allowing them an identity in the diverse US (Waxer 94). Conclusion The blend of Caribbean is as exotic, and this does not leave out its musical exploits. This is because the history of these people is linked to the customs as well as traditions of the region, and music is a profound part of these people’s customs and traditions, for it gave and still gives them hope. Music is also significant in these people’s lives; for it gives the different territories of the Caribbean their distinct identities whose unique style favors them. It also acts as an identifier as to what Caribbean country one belongs to, given the fact that it is a racial minority in the US inhabiting most parts of New York (Maskowitz125). Another importance of music to Caribbean people is the messages the music carries, and these are messages of struggle, fight and development as people just like any other types of music. This is why Lao-Montes and Davila (2001) assert that the “latinidad echoes the multiple identities that form the Latin or Caribbean American territory, and these complexities might turn out to be important differentiating marks of the culture and identity of the Latino or Caribbean people in America” (14). Works Cited Boggs, Vernom. Salsiology: Afro-Cuban Music and the Evolution of Salsa in New York City, Volume 1992, Part 2. Excelsior Music Pub. Co., 1992. Print. Glasser, Ruth. My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940. California: University of California Press, 1997. Print. Kanellos, Nicolas, and Claudio Fabregat. Handbook of Hispanic Cultures in the United States. Mexico: Arte Publico Press, 1993. Print. Lao Montes, Agustin, and Arleene Davilla. Mambo Montage: The Latinization of New York. Columbia: Columbia University Press, 2001. Print. Moskowitz, David. Caribbean Popular Music: An Encyclopedia of Reggae, Mento, Ska, Rock Steady and Dancehall. Westport, Conn: Greenwood Press, 2006. Print Waxer, Lise. Situating Salsa: Global Markets and Local Meanings in Latin Popular Music. New York: Routledge, 2002. Print. Read More