Cinco de Mayo (May 5, the date of the Mexican Army’s 1862 victory over the French Empire at the Battle of Puebla) is celebrated in several countries outside of Mexico—not least in the U.S., where it is widely considered an occasion to eat Mexican food and drink margaritas. But in Mexico itself, the state of Puebla, where the battle occurred, is the principal place that celebrates the holiday.
The city of Puebla hosts the largest festival, which includes a massive parade and a re-enactment of the battle involving hundreds of locals dressed as French and Mexican soldiers. After the Mexican troops win, the celebration continues with music, dancing, and food.
This according to “How people actually celebrate Cinco de Mayo in Mexico” by Talia Avakian (Business insider 30 April 2015).
Below, Puebla’s Cinco de Mayo parade in 2019.
In July 2016 the Society for Ethnomusicology issued A Latin American Music Reader: Views from the South, edited by Javier F. Léon and Helena Simonett and published in collaboration with University of Illinois Press. Along with extensive introductory material, the book includes 17 articles translated from Spanish and Portuguese into English, representing a cross-section of the innovative research of Latin American music scholars over the past 25 years.
The project was initiated by SEM’s Latin American and Caribbean Music Section and Board of Directors several years ago in support of the Society’s goal of expanding international communication in ethnomusicology. A detailed new introduction by León and Simonett surveys and contextualizes the history of Latin American ethnomusicology, opening the door for readers energized by the musical forms brought and nurtured by immigrants from throughout Latin America.
Below, Violeta Parra, the subject of one of the book’s essays.
The Afro-Cuban music and dance genre rumba has historically been considered una cosa de negros (a black thing) and reviled due to racialized stereotypes that link the practice with el bajo mundo (the low life), excessive alcohol use, and violence. Nevertheless, the socialist government has sought to elevate rumba’s status during the past half century as part of a larger goal of foregrounding and valorizing the African contributions to Cuban identity and culture.
Rumba is the most significant and popular black-identified tradition in Cuba; in addition to its association with blackness, it is often portrayed as a particularly potent symbol of the masses and working-class identity, another reason why the government has aimed to harness rumba to its cultural nationalist discourse.
Despite the discursive valorization of the practice found in much Cuban scholarship and political rhetoric, rumba continues to be identified with a particular and marginalized sector of the population. In many ways, the complex situation of rumba performance conforms to the more general trend of contemporary racial politics on the island.
This according to “National symbol or ‘a black thing’? Rumba and racial politics in Cuba in the era of cultural tourism” by Rebecca Bodenheimer (Black music research journal XXXIII/2 [fall 2013] pp. 177–205). This issue of Black music research journal, along with many others, is covered in our new RILM Abstracts of Music Literature with Full Text collection.
Below, a street performance of rumba.
The dance-song genre punta and its derivative, punta rock, are iconic of Garífuna ethnicity and modernity. Punta permeates performances of both secular and semisacred rituals, and it is the genre most often used for social commentary.
Punta rock arose from the need to create a new genre fusing elements of Garífuna culture and music that express both indigenous and urban social ideals. As such, it maintains its popularity because it incorporates both the traditional and the contemporary.
This according to “Ethnicity, modernity, and retention in the Garifuna punta” by Oliver N. Greene (Black music research journal XXII [fall 2002] pp. 189–216).
Above and below, Pen Cayetano and the Turtle Shell Band—the originators of punta rock.