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
3 - Salsa Soundings
Puerto Rico and the Americas
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 analyses the heterogeneous, contradictory and shifting social meanings that salsa music has articulated since its inception in the late 1960s. Shifting from the Nuyorican-grounded urban masculinity and anticolonial politics in its early years to the current globalised and neoliberal spaces of dance studios, this chapter explores how the sounds of salsa, as popular music, become sites for power struggles over cultural, racial, ethnic and gender identities.
- Type
- Chapter
- Information
- The Cambridge Companion to Caribbean Music , pp. 36 - 51Publisher: Cambridge University PressPrint publication year: 2022
References
References
Aparicio, Frances R. 2002. ‘La India, La Lupe and Celia: Toward a Feminist Genealogy of Salsa Music: Global Markets and Local Meanings’. In Waxer, Lise, ed., Situating Salsa: Global Markets and Local Meanings. New York: Routledge, 135–60.Google Scholar
Aparicio, Frances R. 1998. Listening to Salsa: Gender, Latin Popular Music and Puerto Rican Cultures. Hanover: Wesleyan University Press.Google Scholar
Berríos-Miranda, Marisol. 2002. ‘Is Salsa a Musical Genre?’ In Waxer, Lise, ed., Situating Salsa: Global Markets and Local Meanings in Latin Popular Music. New York: Routledge, 37–64.Google Scholar
Berríos-Miranda, Marisol. 2003. ‘Bailando Salsa en la Sala, Cómo Aprendimos a Bailar y a Vivir’. Annual Meeting for the Society of Ethnomusicology, Miami, Florida, October 4.Google Scholar
Berrios-Miranda, Marisol. 2004. ‘Salsa Music as Expressive Liberation’. Centro Journal. 16, no. 2, 158–73.Google Scholar
Berríos-Miranda, Marisol. 2017. ‘Bailando Salsa en la Sala: How We Learned to Dance and to Live’. In Washington, Derrick Leon, Renta, Priscilla, and Hutchinson, Sydney, eds., Rhythm and Power: Performing Salsa in Puerto Rican and Latino Communities. New York: Centro Press, 31–45.Google Scholar
Berríos-Miranda, Marisol and Dudley, Shannon. 2008. ‘El Gran Combo, Cortijo, and the Musical Geography of Cangrejos/Santurce, Puerto Rico’. Caribbean Studies. 36, no. 2, 121–51.Google Scholar
Duany, Jorge. 1984. ‘Popular Music in Puerto Rico: Toward an Anthropology of “Salsa”’. Latin American Music Review/Revista de Música Latinoamericana. 5, no. 2, 186–216.Google Scholar
García, Cindy. 2013. Salsa Crossings: Dancing Latinidad in Los Angeles. Durham, NC: Duke University Press.Google Scholar
Hosokawa, Shuhei. 2002. ‘Salsa no tiene fronteras: Orquesta de la Luz and the Globalisation of Popular Music’. In Waxer, Lise, ed., Situating Salsa: Global Markets and Local Meaning in Latin Popular Music. New York: Routledge, 289–311.Google Scholar
Negrón, Marisol. n.d. Made in “NuYoRico”: Salsa as Cultural Sign and Commodity in New York and Puerto Rico. Durham, NC: Duke University Press. Book manuscript.Google Scholar
Padilla, Félix M. 1989. ‘Salsa Music as a Cultural Expression of Latino Consciousness and Unity’. Hispanic Journal of Behavioral Sciences. 11, no. 1, 28–45.Google Scholar
Pietrobruno, Sheenagh. 2006. Salsa and Its Transnational Moves. Lanham, MD: Lexington Books.Google Scholar
Román-Velázquez, Patria. 2002. ‘The Making of a Salsa Music Scene in London’. Waxer, Lise, ed., Situating Salsa: Global Markets and Local Meaning in Latin Popular Music. New York: Routledge, 259–88.Google Scholar
Román-Velázquez, Patria. 2017. The Making of Latin London: Salsa Music, Place and Identity. Aldershot: Ashgate.CrossRefGoogle Scholar
Rondón, César Miguel. 2008. The Book of Salsa: A Chronicle of Urban Music from the Caribbean to New York City. Chapel Hill: University of North Carolina Press.Google Scholar
Schneider, Britta. 2013 ‘Heteronormativity and Queerness in Transnational Heterosexual Salsa Communities’. Discourse and Society. 24, no. 5, 553–71.CrossRefGoogle Scholar
Washburne, Christopher. 2008. Sounding Salsa: Performing Latin Music in New York City. Philadelphia: Temple University Press.Google Scholar
Waxer, Lise. 2002. ‘Llegó la salsa: The Rise of Salsa in Venezuela and Colombia’. In Waxer, Lise, ed., Situating Salsa: Global Markets and Local Meaning in Latin Popular Music. New York: Routledge, 219–45.Google Scholar
Further Reading
Aparicio, Frances R. 2018. ‘Sounding the Image and Imaging the Sound: Marc Anthony’s Vivir mi vida and Salsa Romántica’. In Vila, Pablo and Héctor Fernández, L’Hoeste, eds., Sound, Image and National Imaginaries in the Construction of Latin/o American Identities. Lanham, MD: Lexington Books, 207–20.Google Scholar
Colón-Montijo, César, ed. 2015. Cocinando suave: Ensayos de Salsa en Puerto Rico. Caracas, Venezuela: Fundación Editorial El Perro y la Rana.Google Scholar
Washington, Derrick L., ed. 2017. Rhythm and Power: Performing Salsa in Puerto Rican and Latino Communities. New York: Centro Press.Google Scholar
Lapidus, Benjamin. 2021. New York and the International Sound of Latin Music, 1940–1990. Jackson: University Press of Mississippi.Google Scholar
Lipsitz, George. 2007. ‘Salsa: The Hidden History of Colonialism’. Footsteps in the Dark: The Hidden Histories of Popular Music. Minneapolis: University of Minnesota Press. 211–37.Google Scholar
Salazar, Max. 2002. Mambo Kingdom: Latin Music in New York. London: Schirmer Trade Books.Google Scholar
Valentín-Escobar, Wilson. 2001. ‘“Nothing Connects Us All But Imagined Sounds”: Performing Trans-Boricua Memories, Identities, and Nationalisms Through the Death of Héctor Lavoe’. In Agustín, Laó-Montes and Arlene, Dávila, eds., Mambo Montage: The Latinization of New York City. New York: Columbia University Press, 207–34.Google Scholar