Book contents
- The Cambridge Companion to Caribbean Music
- Cambridge Companions to Music
- The Cambridge Companion to Caribbean Music
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Foreword
- Acknowledgements
- 1 Introduction to the Caribbean and Its History
- 2 Race and Transculturation
- 3 Salsa Soundings
- 4 Blackness and Identity
- 5 From the Island to Global Stages
- 6 Investigating the Caribbean’s African Past
- 7 Reframing Diasporic Belonging
- 8 Competition, Conflict, and Cooperation
- 9 Uncovering Hidden Histories of Meaning
- 10 The Foundations of Rap Music and Post-colonial Emancipation
- 11 Konpa, Zouk, and the Politics of World Music
- 12 Globalisation in the Reggae and Dub Diaspora
- 13 Musical Orality and Literacy in the Transmission of Knowledge and Praxis
- 14 Narratives of Return
- 15 Decolonising Caribbean Imaginaries
- Index
- References
4 - Blackness and Identity
Dominican Merengue
Published online by Cambridge University Press: 17 September 2022
Edited by
Book contents
- The Cambridge Companion to Caribbean Music
- Cambridge Companions to Music
- The Cambridge Companion to Caribbean Music
- Copyright page
- Dedication
- Contents
- Figures
- Contributors
- Foreword
- Acknowledgements
- 1 Introduction to the Caribbean and Its History
- 2 Race and Transculturation
- 3 Salsa Soundings
- 4 Blackness and Identity
- 5 From the Island to Global Stages
- 6 Investigating the Caribbean’s African Past
- 7 Reframing Diasporic Belonging
- 8 Competition, Conflict, and Cooperation
- 9 Uncovering Hidden Histories of Meaning
- 10 The Foundations of Rap Music and Post-colonial Emancipation
- 11 Konpa, Zouk, and the Politics of World Music
- 12 Globalisation in the Reggae and Dub Diaspora
- 13 Musical Orality and Literacy in the Transmission of Knowledge and Praxis
- 14 Narratives of Return
- 15 Decolonising Caribbean Imaginaries
- Index
- References
Summary
This chapter investigates the merengue as a tool for unpacking the complicated questions about race and representation in the Dominican Republic. Warning against viewing merengue through essentialist frames, it invites readers to formulate a more heterogenous approach to studying merengue, Dominican identity, and experiences of Blackness.
- Type
- Chapter
- Information
- The Cambridge Companion to Caribbean Music , pp. 52 - 64Publisher: Cambridge University PressPrint publication year: 2022
References
References
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Further Reading
Davis, Martha Ellen. 1994. ‘Music and Black Ethnicity in the Dominican Republic’. In Gerard, Béhague, ed., Music and Black Ethnicity: The Caribbean and South America. New Brunswick, NJ: Transaction.Google Scholar
Davis, Martha Ellen. 2002. ‘Dominican Folk Dance and the Shaping of National Identity’. In Sloat, Susanna, ed., Caribbean Dance from Abakuá to Zouk. Gainesville: University of Florida Press.Google Scholar
Díaz Ferreras, Rosa Victoria [Rossy]. 2011. Rumbas Barriales: Aproximaciones al análisis del Merengue “de calle.” Santo Domingo: Editorial Seña.Google Scholar
Duany, Jorge. 1994. ‘Ethnicity, Identity, and Music: An Anthropological Analysis of the Dominican Merengue’. In Gerard, Béhague, ed., Music and Black Ethnicity: The Caribbean and South America. New Brunswick, NJ: Transaction.Google Scholar
Hajek, Jessica. 2017. The Capital of Carnival: Alibabá Carnival Music and Dance in Santo Domingo as Social Enterprise and Performance Complex. PhD Dissertation, University of Illinois at Champaign-Urbana.Google Scholar
Wade, Peter. 1998. ‘Music, Blackness and National Identity: Three Moments in Colombian History’. Popular Music. 17, no. 1, 1–19.Google Scholar