By Ned Sublette
This enjoyable historical past of Cuba and its song starts with the collision of Spain and Africa and keeps throughout the period of Miguelito Valdés, Arsenio Rodríguez, Benny Moré, and Pérez Prado. It deals a behind-the-scenes exam of track from a Cuban perspective, unearthing remarkable, provocative connections and making the case that Cuba used to be primary to the evolution of song within the New global. The methods in which the tune of black slaves reworked 16th-century Europe, how the claves seemed, and the way Cuban track motivated ragtime, jazz, and rhythm and blues are printed. track fans will persist with this trip from Andalucía, the Congo, the Calabar, Dahomey, and Yorubaland through Cuba to Mexico, Puerto Rico, Saint-Domingue, New Orleans, long island, and Miami. The tune is positioned in a historic context that considers the complexities of the slave alternate; Cuba's dating to the USA; its progressive political traditions; the track of Santería, Palo, Abakuá, and Vodú; and even more.
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Extra resources for Cuba and Its Music: From the First Drums to the Mambo
They treated Spain as a conquered territory and were hated by the Spaniards. Muslim Spain had thus been vanquished from a base in West Africa, becoming part of an African Almoravid empire that stretched down through the Maghrib and across the Sahara into the Senegambia. The Muslims of Spain began to be thought of in Christian Europe as “Moors,” or blacks. 15 ◆ Long before Islam existed, the Berbers were crossing the Sahara. They may have been the “Garamantes” who, according to Herodotus, traversed the Sahara in chariots.
And the good Inquisitor’s name is shouted out constantly in merengue hits on New York Latin radio, because in 1496 he became the namesake of the first Spanish capital of the New World: Santo Domingo. ◆ 30 C U B A A N D I T S M U S I C By the Middle Ages, the cultural heritage of the Iberian peninsula included contributions in greater or lesser degrees from the indigenous Iberian, Celtic, Phoenician, Jewish, African, Greek, Roman, Visigothic, Muslim (Yemenite, Syrian, and Berber, among others), Occitanian, and French cultures.
The resulting exodus is remembered in Jewish history as a calamity of major proportions. The number of Jews who fled the peninsula pursuant to the edict has been given by various sources as anywhere between 120,000 and 400,000, or even higher. 42 Some went to Portugal, where they were allowed to stay briefly, but Portugal issued a similar order in 1497. As this new Jewish diaspora—known as the Sephardim, from Sepharad, the Hebrew name for Iberia—spread, they took their highly developed cultural traditions with them.
Cuba and Its Music: From the First Drums to the Mambo by Ned Sublette