Mexico, being one of the hot-spots for Latin American music, has its own influence on Costa Rican music. Genres like Ranchera, Corrido, and Norteno can be heard throughout Costa Rica. One of the most famous Ranchera singers, while not accepted for being homosexual, came from Costa Rica. Chavela Vargas broke many gender stereotypes as she sang a style of music predominantly performed by males in pants and a poncho (Linden,
Not to mention, jazz music had been struggle against society. The 1960s and 1970s’s black power movement influenced on jazz musicians and Hancock was not an exception. That’s why sociological factors influenced on Hancock’s styles, sounds and messages in songs or albums. In Musical Borrowing, Dialogism, and American Culture, 1960-1975 (2006), Berry suggests that “Watermelon Man” (1973) from Hancock’s album Head Hunters (1973) shows evidence of mixing African-American culture with traditional African music (Berry,2006, p.168-169).
The triangular trade was a trade of goods and slaves between Africa, Europe, and the Americas. Africa’s main job in the triangular trade was producing slaves. African chieftains traded and own number of slaves. Europeans swapped goods like liquor, fabrics, gunpowder, spices, foods, fur for the slaves. Goods were also produced in american colonies by slaves.
When attending to music, two common themes tend to emerge – challenging societal norms and expressing life experiences. Hip hop, a musical genre commonly associated with people of African descent, subsists more than a form of music; hip hop reflects not only music, but cultures, language, fashions, and style. Upholding a distinct purpose to each individual, the hip hop genre reflects subjective pain and resentment, illustrated through personal expression. When considering hip hop’s reputation, it stands analytical to distinguish how music reflects the hybridity of cultures throughout the African diaspora and is evidenced through the Seattle Fandango Project and the artists in Seattle 's East African community. As discussed in Seattle’s East
What was the role of the Trans-Saharan trade on the development of the Atlantic Slave Trade? If some of the African kingdoms were better organized than the European, why did they not halt the trade? Finally, was the impact of the slave trade tied to the failure of Africa to develop economically or was that an internal factor? The African Slave Trade was a major deal in time.
This impacted the slave communities culture by changing their cultural constructs. "Africans and Indians fought with each other, claimed to be each other, and allied together for common goals" (Document 9) This document proves that trans-Atlantic slave trade inflicted a new culture upon African slaves, also know as the maroon community. The maroon community was made up of ex-slaves or runaways. By being apart of this community, it gave them a new outlook on them being away from their previous home.
In 1709, Jacques Raudot, passed an ordinance planned to identify owners’ demands for Seeking validation and security of their enslaved property and reinforcing the legality of both African and Indian servitude in New France. The ordinance accentuated the problems associated with insubordinate slaves, who often attempted to escape from their owners by repudiating their enslaved status. In his ordinance, Raudot also highlighted the need of slaveholding for the growth and development the colony. The ordinance disseminated to the public through New France’s officials who referred to Raudot’s ordinance as the root of legalized slavery in the colony. It was published in the towns of Quebec, Three rivers, and Montreal and was notarized by authorities.
Slavery has existed for as long as we know. Many people assume it started with Europeans bringing Africans to the Americas. Then assuming this was done due just to the fact that they were black. However, there have been slaves of all colors across the world. “The basis, of the Atlantic economy was the slave trade and the new products it enabled.”
Haitian Vodou plays a large role on the influence of the lyrics in this album. Vodou is unique to the country because it is their official religion, and brought upon by the African ethnic groups who were once in slavery. However, they were converted by the Roman Catholics in the 16th and 17th centuries when they were transported to Saint Domingue (modern-day Haiti). The Vodou religion encompasses many different spirits, asking for things such as health and protection. Despite a language barrier in this album, it is evident just from some song titles that these values are sung about.2
First developed at the end of the 17th century, Bomba flourished along the coast of Puerto Rico where West Africans and their descendants worked the colonial sugar canes (Prfdance). It comes out of the musical traditions brought by enslaved Africans in the 17th century. To them, bomba music was a source of political and spiritual expression. The lyrics conveyed a sense of anger and sadness about their condition, and songs served as a catalyst for rebellions and uprisings. But Bomba also moved them to dance and celebrate, helping them create community and identity (Smithsonian).
Bachata is a popular guitar music that originated from the Dominican Republic. In the Article Bachata: The soulful music, the slow dance explains that while bachata is mainly based on bolero rhythm. This genre traditionally includes other kinds of music such as vals, merengue and ranchera. In 1986 Bachata was an exclusive type of music for maids and taxi drivers. It wasn’t until musicians with big names in the music industry such as Juan Luis Guerra and Anthony Santos that made more appealing to women.
Regla de Ocha, or Santeria, is an Afro-Cuban religion that was born from the context of colonialism and oppression through the memories and experiences of Yoruba slaves in Cuba. It is a combination of beliefs and practices from their homeland in Nigeria, of Roman Catholicism that was imposed on them from the Spanish colonists and of French spiritism from the work of Allan Kardec. In the last couple decades, Santeria has spread and gained popularity throughout South America and North America as an Afro-Cuban religion that many Cubans and African Americans abroad have embraced. Throughout the years, Santeria has also changed and has been redefined in different contexts as it has made its way across the African Diaspora and into different types
Furthermore, African-American culture can be analyzed not only through their action but also through their expression which includes their songs, sayings, dances and/or use of languages. African Americans continued the cultural practice of Nommo, which means the generative power of the spoken words. While Africans’ were being transported to the Americas, the African dialect was targeted trait by the slave traders to be suppressed by separating similar languages stripping their core culture. African American slave such as Nat Turner developed a sophisticated system using
Santeria, meaning “Way of the Saints”, is a syncretic, Afro-Caribbean religion that grew out of slave trade in Cuba, and is based on Yoruba traditions and Roman Catholic incorporations (BBC). The initiation of Santeria can be dated to roughly the early sixteenth century during the bustling transatlantic slave trade, which involved Cuba. In this period, cultural diffusion was not uncommon, as African slaves from Nigeria and Benin were keen on maintaining the religious practices of their home country. The flexibility of the Christian missionaries allowed them to continue their belief systems, but they were still expected to embrace Christian beliefs, and so they did. Yoruba and Roman Catholic traditions were able to blend fairly easily due to
Deborah Pacini Hernandez is Associate Professor of Anthropology, Director American Studies and Latino Studies Programs at Tufts University. Hernandez traces the impact of political upheaval and rural migrations on the development of bachata and the Dominican music industry. Her multi-disciplinary study analyzes the changing attitudes about bachata and its principal musical competitor, merengue. She considers issues of sex and gender as perceived and expressed by bachata 's mostly male musicians, especially in the context of changing patterns of marriage.