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Arsenio Rodríguez and the Transnational Flows of Latin by David F. Garcia

By David F. Garcia

Arsenio Rodr guez was once the most very important Cuban musicians of the 20th century. during this first scholarly research, ethnomusicologist David F. Garc a examines Rodr guez's existence, together with the conjunto musical mixture he led and the hugely influential son montuno type of song he created within the Nineteen Forties. Garc a recounts Rodr guez's conflict for popularity on the peak of mambo mania in big apple urban and the importance of his song within the improvement of salsa. With firsthand money owed from kinfolk and fellow musicians, "Arsenio Rodr guez and the Transnational Flows of Latin renowned tune "follows Rodr guez's fortunes on numerous continents, speculating on why he by no means loved broad advertisement good fortune regardless of the significance of his track. Garc a makes a speciality of the jobs that race, id, and politics performed in shaping Rodr guez's song and the trajectory of his musical profession. His transnational point of view has very important implications for Latin American and well known track studies."

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175-77). The cure, according to Ortiz, was to "civilize," that is, "deAfricanize," Cuba's black population beginning with its expressive cultural traditions. Indeed, in the first two decades of Arsenio's life, action was taken by the Cuban government to repress forms of African-derived Cuban traditional practices (see Moore 1997, pp. 229-32). Such measures often incited racial violence against black practitioners of AfroCuban religions (Helg 1995, pp. 238-9; Hagedorn 2001, p. 190). 16 As these artists increasingly drew from Afro-Cuban traditions for their modernist works, black intellectuals in particular became more critical of afrocubanismo artists, whom they saw as exploiting "decadent" cultural traditions and therefore contradicting and threatening the goals of mestizaje and superaci6n.

675; Lopez 1981, p. 315). Therefore, unless one lived in Havana and was able to go to a social club or beer garden, the only way one had access to the conjunto's live performances was through radio. 2). Recognizing their popularity among dancers, the programming directors at I _~. 2, Arsenio Rodriguez y Su Conjunto, Radio Salas, Havana, c. 1950. Top row from left: Felix Chappottin, trumpet; Oscar "Florecita" Velazco, trumpet; Alfredo "Chocolate" Armenteros. Middle from left: Luis Martinez Grinan, piano; Lazaro Prieto, bass; Arsenio Rodriguez, tres; Rene Scull, first voice and maracas; Miguelito Cuni, first voice and clave; Carlos Ramirez, guitar and second voice.

21 The line "quien rabo mono 'mara mono" (he who ties the Copyrighted Material "I Was Born of Africa" 21 monkey's tail will be tied by the monkey) is a traditional Palo Monte proverb, which warns that any deception or ill will toward somebody on your part will have negative ramifications. " But in this context, casilla (pigeon-hole) represents the ganga" and [a]garra cOI'onise (to grasp a Cornish hen) signifies the mystical power of the ganga. The word kiyumba refers to an animal or human skull, which was used for Palo Monte rituals, but is no longer practiced (Castellanos and Castellanos 1992, p.

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