Introduction to Cultural Anthropology<\/p>\n
Reading Response Essay Three<\/p>\n
Discuss the role that new media, digital, and other technologies play in the various ethnographic case studies assigned in Part III of the syllabus.<\/p>\n
This essay covers texts and films assigned in part 3 of the syllabus. For your discussion, select at least four of the following: Kuipers, Dent, and Bell; Gershon; Kang; Salamandra; Gregory; Lincoln; Gonz\u00e1lez; Mathur. You may discuss your chosen novel instead of one of the essays (that is, your novel + 3 of the above). If you have not discussed your novel in essay one or two, this is your last opportunity.<\/p>\n
This assignment is not an opinion piece; it is designed to demonstrate knowledge of and reflection on the assigned materials; do not use any other sources. Films may be included but cannot take the place of texts. Essays must be formatted as .doc.dox (not pdf), double-spaced, paged-numbered, and 4-6 pages long (excluding bibliography), with proper citations. Be sure to cite your sources thoroughly and consistently; \u00bd a letter grade will be deducted for lack of proper referencing.<\/p>\n
Read the paper guidelines posted on Blackboard, in Course Information and Syllabus, before writing! Make use of word processing spell and grammar check functions. A bibliography of all sources used must be included at the end of the essay (see syllabus and guidelines for examples of bibliographic citations).<\/p>\n
Plagiarism in any form, of even a single line of text, will result in automatic failure and notification of college authorities.<\/p>\n
Essay Due: Upload to Assignments on Blackboard by May 19 at 11:59 PM.<\/p>\n
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\nThe music of Puerto Rico is a rich tapestry of diverse genres and influences that reflect the island’s history, culture, and identity. From indigenous traditions to African rhythms, Spanish traditions to modern-day genres like reggaeton, Puerto Rican music has evolved and adapted over time. In this overview, we will explore the different musical genres and interpretations that have shaped Puerto Rican music.<\/p>\n
Indigenous-Pre-Invasion: Prior to the arrival of the Spanish in 1493, Puerto Rico was inhabited by indigenous communities. Their music included songs, dances, storytelling, and epic poems. Percussive instruments like the mayohuac\u00e1n, guiro, amaraca, and pito were used in these cultural expressions.<\/p>\n
The Conquest: With the Spanish colonization in the 16th century, Puerto Rican music started incorporating Spanish traditions such as villancicos, coplas, and religious music. M\u00fasica J\u00edbara, rooted in rural and plantation cultures, emerged, featuring the seis as its backbone, along with d\u00e9cimas and other European influences. String instruments like the vihuela, tiple, and bordon\u00faa were introduced.<\/p>\n
African Legacy: The African influence on Puerto Rican music is significant due to the arrival of enslaved Africans. The music of ladinos, bozales, maroons, and freed slaves incorporated African rhythms and cultural expressions. Bomba, a genre characterized by its regional variations such as sic\u00e1, yub\u00e1, and holand\u00e9, became an important part of Puerto Rican music.<\/p>\n
The Beginning of a New Expression: In the late 18th century, Puerto Rican music began to incorporate elements of classical music through m\u00fasica de capilla and music education. Choral music became prominent in the early 19th century, and the danza, a concert and dance genre, flourished during the mid-19th century. The Spanish zarzuela also gained popularity.<\/p>\n
Plena: The urban phenomenon of plena emerged in the early 20th century. Artists like Manuel Jim\u00e9nez “El Canario,” Mon Rivera, H\u00e9ctor “Tito” Matos, and groups like Viento de Agua and Pleneros de la 21 revitalized and popularized the plena genre in the 21st century.<\/p>\n
Music Post-U.S. Invasion: The U.S. influence brought Protestant traditions and the internationalization of Puerto Rican musical artists. Notable Puerto Rican artists like Antonio Paoli, Jes\u00fas Maria Sanrom\u00e1, Pablo Elvira, Justino D\u00edaz, and Ana Mar\u00eda Mart\u00ednez gained recognition on the global stage.<\/p>\n
The Puerto Rican Song: In the 1930s, recorded popular music began to develop, and the “bellonera” style became popular. Renowned songwriters and composers such as Rafael Hern\u00e1ndez, Pedro Flores, Sylvia Rexach, Tite Curet Alonso, Daniel Santos, Felipe Rodr\u00edguez, and Myrta Silva emerged during this period.<\/p>\n
Dance Band\/Orchestra Music: The 1930s and 40s saw the rise of big band and dance hall music in Puerto Rico. Plena recordings became popular, and there was a resurgence of Pan American and Caribbean musical exchange, heavily influenced by the United States.<\/p>\n
Choral Music in Education: Puerto Rico witnessed the development of choral music education in the 1930s. Prominent figures like Bartolom\u00e9 Bover, Augusto Rodr\u00edguez, Pablo Fern\u00e1ndez Badillo, and institutions like the University of Puerto Rico Chorus, InterAmerican University Chorus, Conservatory of Music of Puerto Rico Chorus, and San Juan Children’s Chorus contributed to the choral music movement.<\/p>\n
The Puerto Rican National School of Music\/Class The Puerto Rican National School of Music\/Classical: In the 1950s and beyond, Puerto Rico established its National School of Music, nurturing classical musicians such as H\u00e9ctor Campos Parsi, Amaury Veray, Luis Antonio Ram\u00edrez, Roberto Sierra, and Raymond Torres Santos. Local classical ensembles and organizations like Familia Figueroa and Pro Arte Musical also emerged during this period.<\/p>\n
Operation Serenity and the Arts and Cultural Institutions: In the 1950s, cultural institutions such as the Festival Casals, Puerto Rico Symphony Orchestra, Conservatory of Music of Puerto Rico, and Escuela Libre de M\u00fasica were created. These institutions further contributed to the internationalization of local artists, composers, and recordings.<\/p>\n
Salsa: The 1960s witnessed the emergence of salsa, a genre influenced by Afro-Cuban rhythms, New York musicians, and Puerto Rican artists. Salsa musicians such as C\u00e9sar Concepci\u00f3n, Tito Rodr\u00edguez, Joe Valle, Cortijo y su Combo, Ismael Rivera, Fania All Stars, Willie Col\u00f3n, El Gran Combo, and the Dominican merengue phenomena played significant roles in popularizing salsa.<\/p>\n
Pop Music, T.V., Recording Artists: The late 1960s saw the entrance of Cuban influence into Puerto Rican cultural life, impacting pop music artists, film, and recordings. Artists like Papo Rom\u00e1n, Lucecita, Chucho Avellanet, Lissette, Alfred D. Herger, and Danny Rivera gained popularity during this time.<\/p>\n
La Nueva Trova (The New Song): In the 1970s, the emergence of Pan Latin-American music genres led to the rise of la nueva trova. This genre incorporated elements of m\u00fasica j\u00edbara\/t\u00edpica and featured artists like Roy Brown, Haciendo Punto en Otro Son, Jos\u00e9 Nogueras, and Antonio Cab\u00e1n Vale.<\/p>\n
Spanish and Puerto Rican Ballads and Rock: During the 1970s and 80s, Spanish singers and composers exerted their influence on Puerto Rican pop music artists, film, and recordings. Artists like Raphael, Manuel Alejandro, Camilo Sesto, and the singer-as-auteur concept became prominent during this period.<\/p>\n
Reguet\u00f3n, Puerto Rican Hip Hop, Puerto Rican Rap: In the late 1980s and 90s, new genres like reguet\u00f3n, Puerto Rican hip hop, and rap emerged. Artists such as Vico C, Don Omar, Daddy Yankee, Tego Calder\u00f3n, H\u00e9ctor “el father,” Big Pun, Fat Joe, Ivy Queen, and others contributed to the development and popularity of these genres.<\/p>\n
Salsa Evang\u00e9lica (Evangelist Music): In the 1990s, a genre known as salsa evang\u00e9lica emerged, combining salsa music with religious themes and lyrics.<\/p>\n
Fusion, Jazz, and World Music: Throughout the 20th and 21st centuries, Puerto Rican musicians have embraced fusion, jazz, and world music genres. Artists like Juan Tizol, Miguel Zen\u00f3n, William Cepeda, David S\u00e1nchez, Eddie Palmieri, Ray Barreto, Eddie G\u00f3mez, and Eddie Bob\u00e9 have made significant contributions in these genres.<\/p>\n
“No named genre”: In the 21st century, artists like Calle 13 and Bad Bunny have achieved international recognition, pushing the boundaries of Puerto Rican music with their unique styles and fusions.
\n_________________________________________________________<\/p>\n
Puerto Rican Musical Genres and Interpretations
\nExpressions of a Culture<\/p>\n
Indigeneous-Pre-Invasion\t\t\tPrior to 1493 and throughout early 1500\u2019s
\n\u2022\tAreyto
\nSong, dance, storytelling, epic poems, religious, ceremonial. Percussive (mayohuac\u00e1n, guiro \u2013similar instruments appear in other cultures, amaraca-precursor of maracas, guamo (sea conch), pito a flute-like instrument.<\/p>\n
The Conquest\t\t\t\t\t\t\t1508-+
\n\u2022\tSpanish traditions (including villancico, copla, cadenas, estribillos, seguidillos, others)
\n\u2022\tCriollo (rural and plantation cultures)
\n\u2022\tM\u00fasica J\u00edbara (including seis–the spine of Puerto Rican rural music, d\u00e9cimas, and expressions of other European cultures)
\n\u2022\tVillancicos, Coplas, Romances, Canci\u00f3n de cuna (nursery songs), religious music
\n\u2022\tTrovadores
\n\u2022\tIntroduction of String Instruments\u2014Vihuela, Tiple, bordon\u00faa,<\/p>\n
African Legacy
\nNon-homogeneous culture. The music is used to signify specific events.
\n\u2022\tLadinos, Bozales, Maroons, freed slaves (as per the Real Cedula de 1664)
\n\u2022\tBomba (by regions)—sic\u00e1, yub\u00e1, holand\u00e9, and many others<\/p>\n
The Beginning of a New Expression\t\t\t\tlate 18th century
\n\u2022\tM\u00fasica de capilla (Kapellmeister)\/classical
\n\u2022\tClassical
\n\u2022\tMusic education
\n\u2022\tChoral music\t\t\t\t\t\tearly 19th century +<\/p>\n
Music as identified as Puerto Rican (Criollo and African traditions and others)
\n\u2022\tLa Danza\u2014concert and dance\t\t\t\tin full bloom mid 19th century
\n\u2022\tBandas—military and municipal
\n\u2022\tPlena
\n\u2022\tThe Spanish Zarzuela becomes ever-more popular<\/p>\n
Plena
\n\u2022\tPlena–The urban phenomena\t\t\t\t20th century (first part)
\n\u2022\tManuel Jim\u00e9nez \u201cEl Canario\u201d, Mon Rivera
\n\u2022\tH\u00e9ctor \u201cTito\u201d Matos and Viento de Agua, Pleneros de la 21 \t21st Century<\/p>\n
Music Post-U.S. Invasion
\n\u2022\tProtestant traditions (polyphonic)
\n\u2022\tThe internationalization of Puerto Rican musical artists:
\n\u2022\tAntonio Paoli, Jes\u00fas Maria Sanrom\u00e1, Pablo Elvira, Justino D\u00edaz, Ana Mar\u00eda Mart\u00ednez<\/p>\n
The Puerto Rican Song \t\t\t\t\t\t1930\u2019s +
\n\u2022\tDevelopment of recorded popular music
\n\u2022\t\u201cbellonera\u201d
\n\u2022\tRafael Hern\u00e1ndez, Pedro Flores, Sylvia Rexach, Tite Curet Alonso (particularly known for his complex Salsa compositions), Daniel Santos, Felipe Rodr\u00edguez, Myrta Silva<\/p>\n
Dance Band\/Orchestra Music\t\t\t\t\t1930\u2019s & 40\u2019s
\n\u2022\tbig band and dance hall music
\n\u2022\trecordings of Plena as a popular genre
\n\u2022\tthe resurgence of Pan American\/Caribbean exchange
\n\u2022\tthe US influence<\/p>\n
\u00acChoral Music in Education\t\t\t\t\t1930\u2019s +
\n\u2022\tBartolom\u00e9 Bover, Augusto Rodr\u00edguez, Pablo Fern\u00e1ndez Badillo
\n\u2022\tUniversity of Puerto Rico Chorus, InterAmerican University Chorus, Conservatory of Music of Puerto Rico Chorus
\n\u2022\tSan Juan Children\u2019s Chorus
\n\u2022\tDr. Luis Olivieri and the choral music movement<\/p>\n
The Puerto Rican National School of Music\/Classical\t\t1950\u2019s + 2000 +
\n\u2022\tH\u00e9ctor Campos Parsi, Amaury Veray, Luis Antonio Ram\u00edrez, Rafael Aponte Led\u00e9e, Roberto Sierra, Raymond Torres Santos, Ernesto Cordero, Esther Alejandro
\n\u2022\tThe emergence of local classical ensembles and organizations
\na)\tFamilia Figueroa
\nb)\tPro Arte Musical (founded in 1932)<\/p>\n
Operation Serenity and the Arts and Cultural Institutions\t\t1950\u2019s +
\n\u2022\tThe creation of a cultural nation
\n\u2022\tFestival Casals
\n\u2022\tPuerto Rico Symphony Orchestra
\n\u2022\tConservatory of Music of Puerto Rico
\n\u2022\tEscuela Libre de M\u00fasica
\n\u2022\tThe further internationalization of local artists, composers, recordings<\/p>\n
Salsa \t\t\t\t\t\t\t\t1960\u2019s +
\n\u2022\tThe emergence of Salsa (Afro-Cuban, New York, Puerto Rico, international)
\n\u2022\tAfro-Cuban Rhythms
\n\u2022\tThe New York musicians (Cuban, African Americans, Puerto Ricans)
\n\u2022\tClave (the driving beat: 2-3, 3-2)
\n\u2022\tMost popular musicians\/creators:
\no\tC\u00e9sar Concepci\u00f3n, Tito Rodr\u00edguez, Joe Valle, Cortijo y su Combo, Ismael Rivera
\no\tFania All Stars: Jerry Masucci, Johnny Pacheco, Larry Harlow
\nWillie Col\u00f3n, Papo Lucca and the Sonora Ponce\u00f1a, El Gran Combo \u2013Rafael Ithier
\no\tThe Dominican Merengue Phenomena<\/p>\n
Pop Music, T.V., recording artists (the youth movement) \t\tlate 1960\u2019s
\no\tThe Cuban entrance to the cultural life
\no\tPapo Rom\u00e1n, Lucecita, Chucho Avellanet, Lissette, Alfred D. Herger, Danny Rivera
\no\tEl Club del clan; La nueva ola<\/p>\n
La nueva trova (The New Song)\t\t\t\t\t1970\u2019s +
\n\u2022\tEmergency of the Pan Latin-American Music Genre
\n\u2022\tElements of M\u00fasica J\u00edbara\/T\u00edpica
\n\u2022\tRoy Brown and the Protest Song, Haciendo Punto en Otro Son, Jos\u00e9 Nogueras, Antonio Cab\u00e1n Vale<\/p>\n
Spanish and Puerto Rican Ballads and Rock\t\t\t1970\/80\u2019s +
\n\u2022\tSpanish singers\/composers influence on pop music artists, film, recordings
\n\u2022\tRaphael and Manuel Alejandro, Camilo Sesto
\n\u2022\tThe singer as auteur<\/p>\n
Reguet\u00f3n, Puerto Rican Hip Hop, Puerto Rican Rap\t\tlate 1980\/90\u2019s +
\n\u2022\tEmergency of a new genre, Cultura Po\u00e9tica
\n\u2022\tThe Panamanian Influence
\n\u2022\tVico C, Don Omar, Daddy Yankee, others
\nTego Calder\u00f3n, H\u00e9ctor \u201cel father\u201d, Big Pun, Fat Joe, Ivy Queen<\/p>\n
Salsa Evang\u00e9lica (Evangelist Music)\t\t\t\t1990\u2019s<\/p>\n
Fusion, Jazz, and World Music\t\t\t\t\t20th\/21st Centuries
\n\u2022\tJuan Tizol, Miguel Zen\u00f3n, William Cepeda, David S\u00e1nchez, Eddie Palmieri, Ray Barreto (also Salsa), Eddie G\u00f3mez, Eddie Bob\u00e9<\/p>\n
(No named genre)\t\t\t\t\t2000 +
\n\u2022\tCalle 13
\n\u2022\tBad Bunny<\/p>\n","protected":false},"excerpt":{"rendered":"
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