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
5 - From the Island to Global Stages
Dominican Bachata on the Move
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 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.
- Type
- Chapter
- Information
- The Cambridge Companion to Caribbean Music , pp. 65 - 81Publisher: Cambridge University PressPrint publication year: 2022
References
References
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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