Chapter

"The Music of Rubén Blades and the Short Stories of Gabriel García Márquez: Cantando/Contando the Post-Colonial Legacy"

January 2003

In book: Encuentro con la literatura panameña (pp.39-59)
Chapter: "The Music of Rubén Blades and the Short Stories of Gabriel García Márquez: Cantando/Contando the Post-Colonial Legacy"
Publisher: Universal Books
Editors: Humberto López Cruz

Authors:

William O. Deaver, Jr.

Georgia Southern University-Armstrong Campus

ResearchGate has not been able to resolve any citations for this publication.

ResearchGate has not been able to resolve any references for this publication.

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In this paper I want initially to discuss some ethical problems which we educators have on the whole somewhat neglected: firstly, ethical issues that need to be incorporated into the education of students of the traditional and popular musics of the world at the secondary and tertiary level in this post-colonial and post-apartheid era, and secondly, the related ethical issues affecting the work ... [Show full abstract] of ethnomusicologists as they study and record the musics of traditional communities throughout the world, and especially the recent transformation of field recordings made by ethnomusicologists and others into the commercial product which we know as 'world music', or music that is, or is claimed to be, based on traditional music but has been adapted to a popular musical idiom and has thereby been made 'palatable' for commercial exploitation.

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This paper investigates how post-colonial studies may help us grasp the transformation of musical life in Central Asia. Drawing on the emphasis of post-colonial scholars on the variety of nationalisms, I examine the developments of musical life in Uzbekistan in the early Soviet period, and describe two kinds of musical nationalism—each symbolized by a musical object. While the kind of musical ... [Show full abstract] nationalism that gained strength in the early 1920s was directed to building ‘Uzbek classical music’ that of the 1930s was focused on creating an ‘Uzbek opera’. Judging from some recently published accounts, I observe that while Uzbek musical nationalism of the 1920s had notable resemblances with Indian musical nationalism under British colonialism, that of the 1930s significantly differed from the two.

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Eduardo Herrera

For the past forty years, composer Coriún Aharonián (b. 1940) has been one of the most significant figures of contemporary music composition in Uruguay and Latin America. In this article I provide a biography that connects his historical context to his musical production, and I explain the tenacious manner in which his compositions look to seamlessly incorporate aspects of politics, ethics, and ... [Show full abstract] ideology, giving particular insight into the role of the composer in postcolonial Latin American society. Resumen: El compositor Coriún Aharonián (n. 1940) es una de las figuras más importantes de la composición musical erudita uruguaya y latinoamericana de los últimos cuarenta años. En este artículo presento una biografía que conecta su entorno histórico a su producción musical, y explico la tenaz manera como su música busca entretejer aspectos de política, ética e ideología, dando particular atención a el rol del compositor en la sociedad latinoamericana postcolonial.

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This paper explores the partisan nature of music and musicians in Kenya from the colonial era to the present, and investigates how music served many differing sectarian interests during this period. It reveals how the ambivalent space within which musicians work influences and shapes their music, paying particular attention to political context. It shows how officialdom in postcolonial Kenya has ... [Show full abstract] endeavored to construct, and then saturate public space with, its own version of patriotism. The paper also reveals the ways in which such patriotism is contested. However, the fact that, in the economic and political context of contemporary Kenya, some musicians defend their right to economic gain in response to accusations of sycophancy, suggests that popular music does not always function as a site of subversion.

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Within the spirit of tracing continuities between an occluded past (Hindu-majority India) with the present-day nation of Muslim Pakistan, this article examines Malka Pukhraj’s memoir, Song Sung True (2003), which weaves a narrative of courtly and classical music and folklore traditions of early twentieth-century Indo-Pakistan in her performative work. As a classically trained female singer of ... [Show full abstract] India and Pakistan, Pukhraj enacts a tale of gender, class and ‘respectability politics’ that poses a challenge to traditional norms at one level, while paradoxically working within/even accepting some of these same norms. Her work can be read as a Pakistani-style ‘queer’ performative monologue that allows her to signify a persona as a singer and a woman at a particular historical juncture in India and later in Pakistan. And that resists fitting in to a monolithic definition of any of these constructs.

"The Music of Rubén Blades and the Short Stories of Gabriel García Márquez: Cantando/Contando the Post-Colonial Legacy"

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