Music, Race, and Nation Musica Tropical in Colombia
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Description: Long a favorite on dance floors in Latin America, the porro, cumbia, and vallenato styles that make up Colombia's muacute;sica tropical are now enjoying international success. How did this music--which has its roots in a black, marginal region of the country--manage, from the 1940s onward, to become so popular in a nation that had prided itself on its white heritage? Peter Wade explores the history of muacute;sica tropical, analyzing its rise in the context of the development of the broadcast media, rapid urbanization, and regional struggles for power. Using archival sources and oral histories, Wade shows how big band renditions of cumbia and porro in the 1940s and 1950s suggested both old traditions and new liberties, especially for women, speaking to a deeply rooted image of black music as sensuous. Recently, nostalgic, "whitened" versions of muacute;sica tropical have gained popularity as part of government-sponsored multiculturalism. Wade's fresh look at the way music transforms and is transformed by ideologies of race, nation, sexuality, tradition, and modernity is the first book-length study of Colombian popular music.
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All the information you need in one place! Each Study Brief is a summary of one specific subject; facts, figures, and explanations to help you learn faster.
Copyright year: 2000
Publisher: University of Chicago Press
Publication date: 8/1/2000
Size: 5.75" wide x 8.75" long x 0.75" tall
|Preface A Note on Recorded Music|
|National Identity Race and Nation Nation, Gender, Race, and Sexuality Music, Identity, and Music Capitalism|
|La Costa and Musica Costena in the Colombian Nation|
|The Colombian Nation La Costa in the Nation|
|The Identity of La Costa Colombian Popular Music and Costeno Music|
|Origin Myths: The Historiography of Costeno Music|
|Cultural Dynamics in the Nineteenth Century Porro Cumbia Vallenato|
|Music, Class, and Race in La Costa, 1930-1950|
|Class in Barranquilla, 1920s-1940s|
|Changes in Music, 1920s-1940s|
|Music, Class, and Race in La Costa|
|(Alegria! Costeno Music Hits the Heartland, 1940-1950|
|Bogota and Medelln before Costeno Music|
|The Beginnings of Costeno Music in the Colombian Interior|
|Costeno Music: Reaction and Counterreaction|
|The Golden Era of Costeno MusicCand After "Al Ritmo Paisa": The Recording Industry Changes in Costeno Music, 1950-1980|
|Costenos and Costeno Music in the Interior: Rejection and Adaptation, 1950s-1980s Bogota: Resistance Medellin: "More Costeno than La Costa"?|
|The Costenos in Bogota and Medellin Ownership, Embodiment, and Identity|
|Multiculturalism and Nostalgia: The 1990s Patterns of Consumption in the 1990s|
|Reviving Old Costeno Music Costeno Music and Costeno Identity A "Multicultural" Nation|
|Conclusion: Writing about Colombian Music|
|List of Interviewees|
|Notes References Cited|