Impact of National Music and Dance on Cultural Identity of Colombia - Coursework Example

Music and Dance Vs Cultural Identity in Colombia Introduction Music is a form of art that is composed of sound and silence and characterized by pitch, tempo and dynamics. The composition, importance and role of music vary from culture to culture as well as the context in which it is performed. Music can be classified into genres and subgenres, fine arts, performing arts or auditory arts. Some people in many cultures attribute a lot of value to music; hence sense of music varies within cultural dimensions. Meanings and interpretations of music are shaped by the people who adopt them (Blacking, 1979). Columbian music is composed of both traditional and contemporary genres which are in line with local values. The variations in composition are as a result of African and European influence, and more recent American and Caribbean forms of music such as Trinnidian, Cuban and Jamaican. Oral tradition is characteristic of folk music in Columbia although composers may choose to use CDs or broadsheets. However, the original type is retained even with the use of these apparatuses. Songs are used to denote a variety of annual celebrations. Other commemorative functions such as weddings, funerals or birthdays are conducted using specific songs and decor. As the country continues to expand, musicians tend to combine traditional forms with more recent secular ones making the hybrid genre lack its culture. Music authenticity is then lost and tends to be associated with the culture from which the mixed form comes from. It can be argued that traditional music has its roots before the trade era (Anderson W Campbell, 2011). The Concept of Cultural Identity It can be defined as self- recognition or actualization that a given group of people embraces and portrays. The cultural identity of a community is reflected by the majority of people who stand out to be recognized from the minority ones with whom they share the same location and resources within that region. These groups share the same characteristics; share the same values, religion and beliefs as well as perceptions about life and death, marriage, births, children and nature. Their cultural behavior shapes their lifestyles and the way they work towards accomplishing their basic needs. On the other hand, cultural identity can be viewed as how an individual identifies with a particular culture. Culture influences an individual’s personality and how he relates with others. Identity shapes ones personal character. When one calls himself as an African, Indian, Christian or Mary, he is implying a pattern of images that are recognizable by others. Erickson asserts that all human beings are bound by biology; therefore culture determines the meanings of sexuality, birth ceremonies, life transformations and even death. There is a relationship between music and national identity in that the elements of composition must reflect the people who use them. Music is believed to express the social beliefs and ideas of a particular culture (Erickson, 1964). Social Theory In an attempt to define culture, various theorists have differed on whether culture is a way of life, a set of practices or material representations, symbols or objects. Wade et al argues that the two meanings overlap in that culture has been objectified. Social movements are formed in a bid to promote social identity and recognition. All movements are deemed cultural , and culture here is taken to mean representations, ideas and symbols. Social groups are brought together by same ideologies and symbols of religion, beliefs, systems of communication, loyalty pledges among others. In anthropological studies, culture is meaningful and is materially active. This is to say that there is no division between meaning and action. Culture and cultural identity contain symbolic representations. For some, culture has become an objectified entity, something they can possess, show and represent. Culture objectification involves activities that are geared towards reconstructing the party that is considered inferior. These include struggle for independence, rights to equal treatment, land ownership, leadership positions in church, government and other institutions. In Columbia , black culture is undergoing a transformation process that will see the end of racial discrimination and equal treatment. In the struggle for objectification, the oppressed minorities are supposed to exploit their resources publicly or generate their own resources that have been accredited as public ones (Bushnell, 1993). In Columbia, people of African descent are widely populated along the pacific coastal region, an area with poor infrastructure and many forests where majority of people originated from African slaves were taken to mine gold in the colonial era. These blacks refer themselves as Libres (free people) or Morenos (brown people) and not Negros (blacks) or Afrocolombians. Several groups attempted to define their culture through social movements and projects. The movement was facilitated by the small number of black elites and NGOs with a view of unleashing traces of African culture. This saw the promulgation of the constitution in 1991 declare Columbia as a multicultural country and provided sections protecting indigenous blacks, according them rights to land ownership and freedom of expression. Dance styles in Columbia music include the Bambuco, Vallenato and Porro. Vallenato and Cumbia are the most embraced traditional genres while Toto la Momposina is the most famous interpreter of afro-Columbian music (Dennis, 2011). The constitutional reforms in the early 1990’s saw community leaders, human activists and professionals meet to come up with an afro-Columbian ethnicity that can define the realities, socio-economic needs and political issues of the black populations. The afro Columbian resolved to use hip hop as a medium of expressing those issues. Meanings are brought out by sound, rhythmic patterns, body movements or dance, stories and visual representation. The afro Columbian youth have imitated aspects of reggae and Rastafarian culture as a sign of respect for the Africans who served as slaves in America. Such an example is Cumbia dance that is composed of Spanish and African music, performed when shackles are worn around the ankles of slaves. When slavery was banned in the 19th century, Africans, Indians and other ethnic groups found their way into the Columbian culture. More and more musicians have come up with music genres that express ethnic-racial issues. Other symbols include the use of posters and images of black idols in public spaces of cultural expression such as restaurants, museums, pubs and dance halls. Black identity is also seen in hip hop styles characterized by hairstyles, clothing and brand names, incorporation of African props during performances, and language of hip hop culture used by African and American youth (Middleton, 1990). Many hip hop performers practice folkloric dance and music, a characteristic of dialogue between performers, fans, reggae artists and salsa groups. Their customs and traditions are reflected in hip hop tracks and videos of the same. The goal here is the celebration of culture that has been underestimated and despised by the dominant culture, but a move is being created to fight for hegemony. Musicians are inspired by the experiences they undergo while others represent local and global issues of Columbia. They have discovered that music is an effective tool of commenting about their own lives and issues affecting the country. Hip hop employs its own jargon such as nigga, brotha, bling bling .various Artists have come to a consensus that racial discrimination exist and have composed songs addressing the same. An example of a group of musicians called ghetto clans have proved that they are racially categorized as lacking independence, denied freedom of expression and treated with low dignity. They have represented their personal experiences of racial discrimination through rapping. The songs are meant to awaken the political leaders to preach a message of equality in the attempt of fighting racial discrimination. Black Columbians is also reminded of their time to claim for rightful treatment in the society (Donald, 1995). The frequency with which afro Columbian artists are producing music is an awareness campaign of ending racial discrimination that is brought about along lines of class, gender, location, generation and market demands. Their music is not a total accomplishment of the same; still they remind listeners that much is yet to be done on the battle. Hip hop has continued to play a crucial role in raising social awareness, creating positive dimension ,which as a result influences social behavior. It is an incitement, a protest against racial discrimination. African attire and accessories used during performances are meant to promote the culture and construct an African identity. The raps portray Africa as a motherland from which they originated, a land that should be positively apprehended (Clarke, 1989) Contemporary Columbian Music and Bands a) Columbian Salsa It was established by Puerto Rucans and Cubans and later spread to Colombia. Many other salsa groups continued to emerge such as Feuko Y Sus Tesos, followed by artists like Joe Arroyo who stabilized the salsa music. Examples of famous Colombian bands include Alquimia, Cristian Del Real, Orquesta Guayacan and Los Nemus Del Pacificio. Well known artists of the genre include Jairo Valera and Nino Caiceda whose songs have been recorded by Group Niche and Orquesta Guayacan respectively. Columbian salsa utilizes footwork and not cross body leads ,which make it an outstanding dance. Dancers concentrate on moving the feet while the upper part of the body is dormant. Columbian salsa dancers have of late become known worldwide with two salsa schools being Swing Latino led by Eduardo El Mulato Hernandez. The dance is remarkably different from others in terms of performance. b) Colombian Rock It became popular in the 1980s with the emergence of bands like Soda Stereo, Los Prisioners and Hombres G. The most famous rock bands are Massacre, Kraken and Aterciopelados. The most adored band is Ekhymosis which is a band group led by Juanes who started performing in 1988 and are famous for producing music with Colombian descent. The famous Black Metal band Inquisition was first produced in Colombia, the bands that are now based in Seattle, Washington . Bogota is another form of music characterized by frequent concerts and raves. c) Colombian Pop Music It has of late become widespread with artists like Los de Adento, Lucan Arnau and San Alejo. The unique artist is Shakira who began her music in the 1960s. Her most successful songs are hips don’t lie, a song that won her nomination for golden globe. Another singer and song writer is Juanes, who has been recording with Latin Grammys since their inception. d) Colombia Urban Hip hop It was born in the 1980s with a highly independent style that helped address political and social views such as violence, corruption and discrimination among the Africans living in Colombia. The pioneers of the style were La Etnia and Gotas De Rap followed by Asilo 38, the owners of albums La Hoguera produced in 2000 and La Descarga produced in 2002. Reggae grew in popularity with artists like Nawal, Voodoo and Alerta Kamarada. Tremendous development of Colombian hip hop began in the year 2006, incorporating traditional beats with the popular ones. Hip hop popularity continues to increase nowadays paving way for birth and growth of new urban artists (Wade, 1998). Conclusion Music can be seen as representing and establishing social relations as it is a reflection of a particular community. Hip hop, a genre that involves break dancing, rapping and graffiti enable singers to release tension and emotions within their personal situation and that of their country. In the process, a positive construction of identity is created. To the Africans in Columbia, music is a voice of protest and source of livelihood to the unemployed artists. Music styles also portray national unity and diversity. When a given music is being played, the listeners tend to imagine as if they are the ones singing. By shaping and merging the meaning of cultural products, an authentic standard is created (Jorge, 1994). References Anderson W. & Campbell, S. (2011) Multicultural Perspectives of Music Education, R & L Education. Blacking, J. (1979) The Performing Arts: Music and Dance, Queens University, Northern Ireland. Bushnell, D. ( 1993) The Making of Modern Colombia: A Nation In Spite of Itself, Berkeley. London. Charles, A. (2006) Music, Opera, Dance And Drama in the Pacific And North America, Alain Charles Publishing. Clarke, D. (1989) The Penguin Encyclopedia of Popular Music. London: Penguin. Cody, G. (2007) The Columbia Encyclopedia f Modern Drama, Columbia University Press. Dennis, C. (2011) Afro Colombian Hip Hop: Globalization, Transcultural Music and Ethnicity, Lexington Books. Dickson, D. (2004) The Columbia Guide to Contemporary African American Fiction, Columbia: Columbia University Press. 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