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5 - From the Island to Global Stages

Dominican Bachata on the Move

Published online by Cambridge University Press:  17 September 2022

By
Deborah Pacini Hernandez
Edited by
Nanette de Jong
Nanette de Jong
Affiliation:
University of Newcastle
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Summary

This chapter follows the bachata from its earliest beginnings in Dominican Republic to its current position on the global stage, specifically investigating what happens when a music – made by and for local, rural audiences – crosses geographic borders and is suddenly performed by and for global, urban audiences; and what occurs when a music traditionally tied to place-specific experiences suddenly assumes contrasting positions of meaning.

Keywords

Dominican RepublicBachataGlobalisationMigrationLatinidad
Type
Chapter
Information
The Cambridge Companion to Caribbean Music , pp. 65 - 81
Publisher: Cambridge University Press
Print publication year: 2022

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References

References

Aponte, Sara. 1999. Dominican Migration to the United States, 1970–1997: An Annotated Bibliography. New York: CUNY Academic Works.Google Scholar
Blanco, Robert. 2012. ‘The Sensual “Bachata King” Is Making ‘em Swoon; Dominican Sound Also Finds a Fan, Booster in Usher’. USA Today. 20 January (online version).Google Scholar
Candelario, Ginetta. 2007. Black behind the Ears: Dominican Racial Identity from Museums to Beauty Shops. Durham, NC: Duke University Press.Google Scholar
Hoffnung-Garskof, Jesse. 2008. A Tale of Two Cities: Santo Domingo and New York after 1950. Princeton: Princeton University Press.Google Scholar
Hutchinson, Sydney, ed. 2014. Salsa World: A Global Dance in Local Contexts. Philadelphia: Temple University Press.Google Scholar
Hutchinson, Sydney. 2016. Tigers of a Different Stripe: Performing Gender in Dominican Music. Chicago: University of Chicago Press.CrossRefGoogle Scholar
McMains, Juliet. 2015. Spinning Mambo into Salsa: Caribbean Dance in Global Commerce. Oxford: Oxford University Press.CrossRefGoogle Scholar
Pacini Hernandez, Deborah. 2014. ‘Urban Bachata and Dominican Racial Identity in New York’. Cahiers d’études africaines, 216, 1027–54.Google Scholar
Roth, Wendy. 2012. Race Migrations: Latinos and the Cultural Transformation of Race. Stanford: Stanford University Press.Google Scholar

Further Reading

Pacini Hernandez, Deborah. 1989. ‘Social Identity and Class in “Bachata”, an Emerging Dominican Popular Music’. Latin American Music Review/Revista de Música Latinoamericana. 10, no. 1, 69–91.CrossRefGoogle Scholar
Pacini Hernandez, Deborah. 1990. ‘Cantando la cama vacía: Love, Sexuality and Gender Relationships in Dominican Bachata’. Popular Music. 9, no. 3, 351–67.Google Scholar
Pacini Hernandez, Deborah. 1992. ‘Bachata: From the Margins to the Mainstream’. Popular Music. 11, no. 3, 359–64.Google Scholar
Pacini Hernandez, Deborah. 1995. Bachata: A Social History of a Dominican Popular Music. Philadelphia: Temple University Press.Google Scholar
Sellers, Julie A. 2014. Bachata and Dominican Identity / La bachata y la identidad dominicana. Jefferson, NC: McFarland and Company.Google Scholar
Tallaj, Angelina. 2017. ‘Dominican Migrants, Plural Identities and Popular Music’. American Music Review. 46, no. 2, 1–7.Google Scholar

Discography

Aventura. 2000. Generation Next. Premium Latin Music PRE 997141. CD.Google Scholar
Aventura. 2005. God’s Project. Premium Latin Music PRK 94082. CD.Google Scholar
Guerra, Juan Luis. 1990. Bachata Rosa. Karen Records KCD 136. CD.Google Scholar
Prince Royce. 2010. Prince Royce. Top Stop Music 88883772972. CD.Google Scholar
Rodríguez, Raulín. 2008. Parece Mentira. SONY CD 739645030126. CD.Google Scholar
Santos, Romeo. 2021. Utopia: Live from Metlife Stadium. RCA International 994146. CD.Google Scholar
Santos, Romeo, ft. Usher. 2011. Formula, Vol. 1. Sony Latin. 8697824062. CD.Google Scholar

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