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  • Acknowledgments  ix
    Introduction / Héctor Fernández 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' dónde vas Marioneta? ¿Pa' dónde va la gaita?: La Cumbiamba Eneyé Returns to San Jacinto / Jorge Arévalo Mateus with Martín Vejarano  49
    3. Cumbia in Mexico's Northeastern Region / José Juan Olvera Gudiño  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 Semán and Pablo Vila  188
    9. Feliz, feliz / Cristian Alarcón  213
    10. El "Tú" 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 / Héctor Fernández L'Hoeste  248
    References  269
    Contributors  285
    Index  289
  • Héctor D. Fernández L'Hoeste

    Pablo Vila

    Leonardo D'Amico

    Jorge Arévalo Mateus

    Martín Vejarano

    José Juan Olvera Gudiño

    Alejandro L. Madrid

    Cathy Ragland

    Joshua Tucker

    Kathryn Metz

    Pablo Semán

    Cristian Alarcón

    Matthew J. Van Hoose

  • "This is a significant, comprehensive, and timely collection of essays. As the essays demonstrate, cumbia is probably the most widespread rhythm in the Americas. Yet, until now, its travels and transformations have not received systematic attention, taking into account the complexities of the genre's roots in northern coastal Colombia and its subsequent routes into Mexico, Peru, Argentina, and the United States. Cumbia! fills a crucial gap in the literature on Latin/o American popular music."—George Yúdice, author of The Expediency of Culture: Uses of Culture in the Global Era

    "Cumbia has mattered, matters, and will most likely continue to matter for the multitudes who create it, listen and dance to it, and debate it almost as a way of life. This collection is both a sonic roadmap and testimony to the imagination of people across the Americas as they make some sense of their many worlds through music."—Jairo Moreno, author of Musical Representations, Subjects, and Objects

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  • Description

    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

    About The Author(s)

    Héctor Fernández L'Hoeste is Professor in the Department of Modern and Classical Languages and Director of the Center for Latin American and Latino/a Studies at Georgia State University. He is coeditor, with Deborah Pacini Hernandez and Eric Zolov, of Rockin' Las Américas: The Global Politics of Rock in Latin/o America.

    Pablo Vila is Professor of Sociology at Temple University. He is coauthor, with Pablo Semán, of Troubling Gender: Youth and Cumbia in Argentina's Music Scene.
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