"Cubanidad "In Between

The Transnational Cuban Alternative Music Scene

Bibliographic Data

ID5113941
AuthorsEva Silot Bravo (0000-0002-4661-8493, corresponding author)
Year2017
Volume38
Issue1
Pages28-56
Publication date2017-06-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueLatin American Music Review (JOURNAL)
Journal identifiersISSN: 0163-0350 • E-ISSN: 1536-0199
PublisherProject MUSE (PUBLISHER • US)
DOI10.7560/lamr38102
OpenAlexW2618205151
LanguageEN
Citations received1
References cited6

This article examines the music production and discourse of the transnational Cuban alternative music scene (TCAMS), a prolific diasporic network of Cuban singers, songwriters, and academically trained musicians. Through ethnographic research I map this transnational music scene throughout local, nonmainstream, and online music circuits. The TCAMS employs fusion as its main musical language, showcasing a strong musical and educational background. These musicians’ transnational identities and discourses are in constant negotiation and assume apparent depoliticized and dystopian discourses in relation to dominant narratives of Cubanness. TCAMS is an “in between” transnational space of music creation, a shifting aesthetic and generational scene in the alternative context of Cuban music. It deconstructs the territoriality of Cuban music production and projects a postnational Cuban soundscape at the turn of the century

Acoustics · Aesthetics · Archaeology · Art · Improvisation · Literature · Media studies · Musical · Narrative · Negotiation · Popular music · Social science · Sociology · Soundscape · Visual arts · Cuban History and Society · History · Latin American and Latino Studies · Music History and Culture

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