Tag Archives: Cuba

Sara Gonzalez and the Cuban nueva trova movement

The name Sara González is synonymous with the history of the Cuban nueva trova. The genre differed from the traditional trova mainly because of its political lyrics but some have described nueva trova as “a field of multiple, generic-stylistic confluences” (Gómez 2021:272). Many songs incorporate elements from jazz, pop, concert music, and protest songs–in nueva trova, these resources communicate the poetic message of the song.

Along with the male trovadores such as Silvio Rodríguez, Pablo Milanés, Noel Nicola, and Eduardo Ramos, Gonzalez helped to found and develop the nueva trova movement in the late 1960s. Born in Havana, she began singing as part of the Los Dimos group and later enrolled in Escuela Nacional de Instructores de Arte (the National School of Art Instructors) with the intention of becoming a music teacher. However, her interest in nueva canción, a genre of pan-Latin American popular music, led her in other directions. In 1972, Gonzalez joined other Cuban musicians on a project that allowed for the institutionalization of the nueva trova, specifically in the Instituto Cubano del Arte e Industria Cinematográficos (ICAIC) Sound Experimentation Group–Grupo de Experimentación Sonora del ICAIC (GESI). Between 1970 and 1978, she wrote songs that explored political themes and integrated ideas of the GESI into nueva trova. In this sense, GESI was important for the establishment of the genre and fundamental in shaping its stylistic features musically. The group also shaped Gonzalez’s musical and political identity. As she described at the time,

“[The Group] has been decisive for who I am. To have ideas of my own, [and] of what I was going to do with my life. . . And as for artistic accomplishment, it was decisive. For everything I have done afterwards, I have always had to resort to what I learned there. . . A school, a method, a way of being, of facing, also, my own creation, my own life. It defined me in every way. I left there with the seed, with the base, firm and secure, that I did not have. And from there everything can come out (González, cited in Sarusky 2005:81-82).  

The trajectory of Gonzalez’s career also demonstrated interconnections between a deep knowledge of Western classical music and her devotion to Cuban music and pedagogy. She became an icon of what some considered “the new woman” in the context of the Cuban nueva trova. In this regard, Gonzalez negotiated the gendered political spaces of femininity and masculinity as a woman troubadour.

Read more about the life and work of Sara Gonzalez in Ivette Janet Céspedes Gómez’s chapter Sara González: A different song in the The Routledge Handbook of Women’s Work in Music, ed. by Rhiannon Mathias (Abingdon: Routledge, 2022) 271–279. [RILM Abstracts of Music Literature, 2022-2684] and in ¿Hombre nuevo y Mujer nueva? Lo femenino y lo masculino en la Nueva Trova Cubana de Silvio Rodríguez y Sara González by Lorena Valdebenito Carrasco, El oído pensante 8/2 (2021) 134–162. [RILM Abstracts of Music Literature, 2021-193].

Watch a video of Sara Gonzalez performing Su nombre es Pueblo.

Other Bibliolore related posts to check out:

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Filed under Performers, Politics, Popular music, West Indies

Valódia: A transatlantic decolonization anthem

Written and recorded in 1975 by the Angolan popular singer António Sebastião Vicente (Santocas), Valódia is derived from African praise songs, with their characteristic heroic laudatory epithets. The song demonstrates the timeless quality of such praise songs, as it turns a young soldier into a socialist hero.

Traditional African poets served as both praise singers and court historians, and their successors are in the vanguard of political song movements. Santocas’s lyrics capture the essence of the fallen subject, who fought against neocolonialism, capitalism, and imperialism.

When Valódia was recorded by the Cuban singer Beatriz Márquez it became a transatlantic anthem advocating sociopolitical and economic change framed by communist doctrine, advancing an agenda of decolonization that still lingers over the destinies of both Angola and Cuba.

This according to “Valódia: A transatlantic praise song” by Jorge Luis Morejón-Benitez, an essay included in Indigenous African popular music. I: Prophets and philosophers (Cham: Palgrave Macmillan, 2022, 303–20; RILM Abstracts of Music Literature 2022-2996).

Below, the original recordings.

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Filed under Africa, Central America, Curiosities, Politics, Popular music

Cuba’s tonadas trinitarias

The tonada trinitaria is an Afro-Cuban musical genre native to the town of Trinidad de Cuba.

The city became one of the Caribbean’s foremost sugar exporters in the early 19th century, and thousands of African slaves were brought to work in the neighboring Valle de los Ingenios. It was here that the local musical practices of African slaves, their descendants, and white peasants meshed, producing an environment conducive to the creation of creole musical forms, of which the tonada trinitaria is a prime example.

The tradition took shape among the Black urban population following the collapse of the city’s sugar-based economy in the late 1840s. The first tonada groups appeared during the first war of Cuban independence (1868–78), propagated by musicians of the Cabildo de San Antonio de Congos Reales. a cultural and religious center of Bantu-derived Christian traditions.

The tonada groups consist of a chorus, a lead singer, three small drums, a güiro (gourd-scraper), and a hoe blade struck with an iron beater. The guía, or lead singer, begins by introducing the tonada (a two-to-four-line text). The percussion joins in, providing a steady rhythmic accompaniment, followed by the chorus, which repeats the tonada. In call-and-response style, the guía improvises his text based on the theme of the tonada. These themes include love, social commentary, patriotism, and puyas, which poke fun at a certain person or situation.

The tonada groups represented certain barrios (marginal neighborhoods) and performed during all-night transits through the city streets, stopping to give serenades at homes or meet with each other in competition. The tradition evolved as new generations took over and elders retired.

This according to History and evolution of the tonadas trinitarias of Trinidad de Cuba by Johnny Frías (Gainesville: University of Florida Press, 2010; RILM Abstracts of Music Literature, 2010-50525).

Above and below, the contemporary group Tonadas Trinitarias.

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Filed under Black studies, West Indies

Afrocubanismo and art music

 

Afrocubanismo was an early 20th-century Cuban aesthetic movement that focused on the recognition, assimilation, and validation of the African cultural features present in Cuban society.

The new ethos found musical expression in a seminal group of composers whose works reflected neonationalistic musical concerns that emphasized the manipulation of timbral and rhythmic elements in a modern harmonic vocabulary. These experiments marked a significant juncture in the evolution of the Cuban concert repertoire, forging the representation of race and class at the intersection of art/popular and rural/urban music dichotomies and establishing a discursive site for the negotiation of national identities.

Ultimately, afrocubanismo provided a transition from nationalism to cosmopolitanism in Cuban concert music, and mediated between ethnicity and social class to articulate a Cuban national musical identity founded on the hybridity of African and Iberian-derived cultures.

This according to “The rhythmic component of afrocubanismo in the art music of Cuba” by Mario Rey (Black music research journal XXVI/2 [fall 2006] pp. 181–212).

Above, La jungla by Wilfredo Lam; below, excerpts from Almadeo Roldán’s Ritmicas, one of the works discussed in the article.

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Filed under 20th- and 21st-century music, Visual art

Rumba and racial politics

 

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.

Above and below, street performances of rumba.

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Filed under Dance, Politics, Popular music

A Cuban instrument atlas

Instrumentos3

Instrumentos de la música folclórico-popular de Cuba: Atlas provides a definitive overview of traditional instruments in Cuba, including discussions of their history, construction, musical characteristics, function in society, historical dissemination, and performance practice.

The accompanying atlas shows the numeric dissemination by county for every traditional instrument played in Cuba on geographical maps of the island. The set was issued by the Centro de Investigación y Desarrollo de la Música Cubana (CIDMUC).

Above, two of the atlas’s pages (click to enlarge); below, a Cuban group that features an unusual instrument—a leaf between the guitarist’s lips!

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Filed under Instruments, Resources