Cumbia!: Scenes of a Migrant Latin American Music Genre

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Acknowledgments ix
Introduction / Hector Fernandez L'Hoeste and Pablo Vila 1
1. Cumbia Music in Colombia: Origins, Transformations, and Evolution of a Coastal Music Genre / Leonardo D'Amico 29
2. ?Pa' donde vas Marioneta? ?Pa' donde va la gaita?: La Cumbiamba Eneye Returns to San Jacinto / Jorge Arevalo Mateus with Martin Vejarano 49
3. Cumbia in Mexico's Northeastern Region / Jose Juan Olvera Gudino 87
4. Rigo Tovar, Cumbia, and the Transnational Grupero Boom / Alejandro L. Madrid 105
5. Communicating the Collective Imagination: The Sociospatial World of the Mexican Sonidero in Puebla, New York and New Jersey / Cathy Ragland 119
6. From The World of the Poor to the Beaches of Eisha: , Cumbia, and the Search for a Popular Subject in Peru / Joshua Tucker 138
7. Pandillar in the Jungle: Regionalism and Tecno-cumbia in Amazonian Peru / Kathryn Metz 168
8. Gender Tensions in Cumbia Villera's Lyrics / Pablo Seman and Pablo Vila 188
9. Feliz, feliz / Cristian Alarcon 213
10. El "Tu" Tropical, el "Vos" Villero, and Places in Between: Language, Ideology, Music, and the Spatialization of Difference in Uruguayan Tropical Music / Matthew J. Van Hoose 226
11. On Music and Colombianness: Toward a Critique of the History of Cumbia / Hector Fernandez L'Hoeste 248
References 269
Contributors 285
Index 289

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Cumbia is a musical form that originated in northern Colombia and then spread throughout Latin America and wherever Latin Americans travel and settle. It has become one of the most popular musical genre in the Americas. Its popularity is largely due to its stylistic flexibility. Cumbia absorbs and mixes with the local musical styles it encounters. Known for its appeal to workers, the music takes on different styles and meanings from place to place, and even, as the contributors to this collection show, from person to person. Cumbia is a different music among the working classes of northern Mexico, Latin American immigrants in New York City, Andean migrants to Lima, and upper-class Colombians, who now see the music that they once disdained as a source of national prestige. The contributors to this collection look at particular manifestations of cumbia through their disciplinary lenses of musicology, sociology, history, anthropology, linguistics, and literary criticism. Taken together, their essays highlight how intersecting forms of identity—such as nation, region, class, race, ethnicity, and gender—are negotiated through interaction with the music.

Contributors. Cristian Alarcón, Jorge Arévalo Mateus, Leonardo D'Amico, Héctor Fernández L'Hoeste, Alejandro L. Madrid, Kathryn Metz, José Juan Olvera Gudiño, Cathy Ragland, Pablo Semán, Joshua Tucker, Matthew J. Van Hoose, Pablo Vila

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The clear, simple language makes the essays accessible, and contributors are to be commended for their excellent presentations...Highly recommended." -- K. W. Mukuna

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