Hostname: page-component-78c5997874-j824f Total loading time: 0 Render date: 2024-11-09T21:53:42.699Z Has data issue: false hasContentIssue false

Art Music and Transterritoriality: Reflections on Cuban Migrations to Europe during the 1990s

Published online by Cambridge University Press:  08 October 2020

Abstract

The fall of Communist rule in Eastern Europe (1989–91) had a profound impact on economic, socio-political, and cultural conditions in Cuba during the 1990s. It was the beginning of the so-called ‘Special Period in Times of Peace’. Increasing dire economic conditions on the island led to many changes that impoverished cultural life, including the relocation of composers in Europe, the United States, and other countries in the Americas. The situations encountered by composers who migrated to Europe varied, depending on generational differences and on the dynamics of the socio-political and cultural powers to which each of them were exposed in their new reception contexts. Whether adopting an uncontested identification with the new cultural milieu or resorting to discursive strategies of appropriation and de/re-territorialized negotiation, this text centres on the compositional journeys of four Cuban composers who settled in different European cities: Leo Brouwer (Córdoba, Spain); Eduardo Morales-Caso (Madrid); Keyla Orozco (Amsterdam); and Louis Aguirre (Aalborg, Denmark). Each case represents an invaluable experience of aesthetic reconstruction in a new creative territory that, by its own transterritoriality, has in turn enriched the sonic map of the Caribbean island.

Type
Articles
Copyright
Copyright © The Author(s), 2020. Published by Cambridge University Press

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Footnotes

Research conducted under the Project I+D+i: Música en conflicto en España y Latinoamérica: Entre la hegemonía y la transgresión (siglos XX y XXI) / Musics in conflict, Spain and Latin America: Between hegemony and transgression (20th and 21st centuries), HAR2015-64285-C2-1-P.

References

Aguirre, Louis. Skype interview by the author. 25 January 2020.Google Scholar
Appadurai, Arjun. Modernity at Large: Cultural Dimensions in Globalization. Minneapolis: University of Minnesota Press, 1996.Google Scholar
Barnet, Miguel. Cultos afrocubanos: La Regla de Ocha, La Regla de Palo Monte. Havana: Ediciones Unión, 1995.Google Scholar
Bhabha, Homi K. The Location of Culture. London and New York: Routledge, 1994.Google Scholar
Cabrera, Lydia. El Monte. Igbo, Finda, Ewe Orisha, Vititi Nfinda (Notas sobre las religiones, la magia, las supersticiones y el folklore de los negros criollos y el pueblo de Cuba). Miami: Ediciones Universal, 2000.Google Scholar
Capone, Stefania. ‘La Diffusion des religions afro-americaines en Europe’. Psychopathologie africaine 31/1 (2002), 316.Google Scholar
Chapalain, Guy. ‘Les Traits stylistiques guitaristiques dans l’écriture des années 1890–1920’, in La Musique entre France et Espagne. Interactions stylistique 1870–1939, ed. Jambou, Louis. Paris: Press de L'Université de Paris-Sorbonne, 2003. 253–67.Google Scholar
Clifford, James. Routes: Travel and Translation in the Late Twentieth Century. Cambridge, MA: Harvard University Press, 1997.Google Scholar
Diego, Eliseo Alberto. Informe contra mí mismo. Madrid: Alfaguara, 1996.Google Scholar
Eli Rodríguez, Victoria. ‘El afrocubanismo, un cambio de estética en la creación musical académica de Hispanoamérica’. Revista de Musicología 32/1 (2009), 309–19.CrossRefGoogle Scholar
Eli Rodríguez, Victoria. ‘República Democrática Alemana (RDA): Escena académica para los músicos cubanos (1960–1980)’, in Trayectorias. Music between Latin America and Europe 1945–1970 / Música entre América Latina y Europa 1945–1970. Ibero-Online 13 (2019), 2939. www.iai.spk-berlin.de/fileadmin/dokumentenbibliothek/Ibero-Online/Ibero_Online_13_Trayectorias.pdf (accessed 17 February 2020).Google Scholar
García Canclini, Néstor. Culturas híbridas. Estrategias para entrar y salir de la modernidad. Mexico City: Grijalbo, 1989.Google Scholar
Giro, Radamés, ed. Leo Brouwer. Del rito al mito. Havana: Museo de la Música, 2009.Google Scholar
Grossberg, Lawrence. ‘Identity and Cultural Studies – Is That All There Is?’, in Questions of Cultural Identity, ed. Hall, Stuart and du Gay, Paul. Thousand Oaks, CA: Sage, 1996. 87107.Google Scholar
Haesbaert, Rogério. ‘Del mito de la desterritorialización a la multiterritorialidad’. Cultura y representaciones sociales 8/15 (2013), 942.Google Scholar
Hall, Stuart. ‘Introduction: Who Needs “Identity”?’, in Questions of Cultural Identity, ed. Hall, Stuart and du Gay, Paul. Thousand Oaks, CA: Sage, 1996. 117.Google Scholar
Hernández, Isabelle. Leo Brouwer. Havana: Editora Musical de Cuba, 2000.Google Scholar
Hernández-Reguant, Arianal, ed. Cuba in the Special Period, Culture and Ideology in the 90's. New York: Palgrave Macmillan, 2009.CrossRefGoogle Scholar
Ibarra, David. ‘Visión global de la economía cubana’, in La economía cubana: reformas estructurales y desempeños en los noventa, ed. Ibarra, David and Máttar, Jorge. Mexico City: Fondo de Cultura Económica–Naciones Unidas, Comisión Económica para América Latina (CEPAL), 2000. 1339.Google Scholar
Kuss, Malena. ‘The Structural Role of Folk Elements in 20th-Century Art Music’, in Atti del XIV congreso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura musicale. Vol. 3: Free Papers, ed. Pompilio, Angelo, Bianconi, Lorenzo, Restani, Donatella and Gallo, F. Alberto. Torino: EDT, 1990. 99120.Google Scholar
Kuss, Malena. ‘Cuba: A Quasi-Historical Sketch’, in Music in Latin America and the Caribbean: An Encyclopedic History. Vol. 2: Performing the Caribbean Experience, ed. Kuss, Malena. Austin: University of Texas Press, 2007. 123–50.Google Scholar
León, Argeliers. ‘Continuidad cultural africana en América’. Anales del Caribe 6 (1986), 115–30.Google Scholar
León, Argeliers. ‘Music in the Life of Africans and Their Descendants in the New World’, in Music in Latin America and the Caribbean: An Encyclopedic History. Vol. 2: Performing the Caribbean Experience, ed. Kuss, Malena. Austin: University of Texas Press, 2007. 1727.Google Scholar
Lochhead, Judy and Auner, Joseph, ed. Postmodern Music / Postmodern Thought. Vol. 4: Studies in Contemporary Music and Culture. New York and London: Routledge, 2002.Google Scholar
Lüneburg, Barbara. TransCoding – From ‘Highbrow Art’ to Participatory Culture Social Media – Art – Research. Bielefeld: Transcript Verlag, 2018.CrossRefGoogle Scholar
Marrodán, Maricarmen A.Entrevista a Louis Aguirre: densidad, exceso, ritos: sincretismo cultural para una teogonía afrocubana’. Espacio Sonoro. Revista de Música Actual 40 (2016). http://espaciosonoro.tallersonoro.com/2016/09/30/entrevista-a-louis-aguirre-2/ (accessed 11 December 2019).Google Scholar
Morales Flores, Iván César. ‘La obra compositiva de Louis Aguirre. Una inusual confluencia sonora de ritos y culturas’. Musiker 18 (2011), 117–39.Google Scholar
Morales Flores, Iván César. ‘Louis Aguirre. Avant-garde del afrocubanismo desde la diáspora musical cubana de finales del siglo XX y principios del XXI’. Espacio Sonoro. Revista de Música Actual 41 (2017). http://espaciosonoro.tallersonoro.com/2017/01/27/louis-aguirre-avant-garde-del-afrocubanismo-desde-la-diaspora-musical-cubana-de-finales-del-siglo-xx-y-principios-del-xxi/ (accessed 11 December 2019).Google Scholar
Morales Flores, Iván César. ‘Del alhambrismo romántico de “Lindaraja” al mito velazqueño de “volcano”: la obra para guitarra de Eduardo Morales-Caso, un compositor de la diáspora cubana del siglo XXI’. Revista de Musicología 41/2 (2018), 629–59.CrossRefGoogle Scholar
Morales Flores, Iván César. Identidades en proceso. Cinco compositores cubanos de la diáspora (19902013). Havana: Casa de las Américas, 2018.Google Scholar
Morales Flores, Iván César. ‘Música, ritual y sacrificio: Una nueva estética afrocubana en Ebbó, ópera-oratorio de Louis Aguirre’. Acta Musicologica 90/1 (2018), 95115.Google Scholar
Morales Flores, Iván César. ‘Neo-afrocubanismo, ritualidad y música carnática: diálogo intercultural en la obra de Louis Aguirre’, in Música y construcción de identidades: poéticas, diálogos y utopías en Latinoamérica y España, ed. Victoria, Eli Rodríguez and Elena, Torres Clemente. Madrid: Sociedad Española de Musicología, 2018. 399412.Google Scholar
Moreno Calderón, Juan Miguel. Leo Brouwer y Córdoba. Córdoba: La Posada, 2005.Google Scholar
Orozco Alemán, Keyla. Skype interview by the author. 22 February 2014. Private recording. Transcript by the author.Google Scholar
O'Reilly Herrera, Andrea. Cuban Artists across the Diaspora: Setting the Tent against the House. Austin: University of Texas Press, 2011.Google Scholar
Rodríguez Chávez, Ernesto. Emigración cubana actual. La Habana: Ciencias Sociales, 1997.Google Scholar
Rodríguez Cuervo, Marta, and Rodríguez, Victoria Eli. Leo Brouwer. Caminos de la creación. Edición Homenaje por su 70° Aniversario. Madrid: Fundación Autor, 2009.Google Scholar
Romero, Justo. ‘¿Milagro sinfónico?’. Scherzo 77 (1993), 8.Google Scholar
Ross, Alex. El ruido eterno. Escuchar al siglo XX a través de su música, trans. Gago, Luis. Barcelona: Seix Barral, 2009.Google Scholar
Ruiz Zamora, Agustín. ‘Entre Alto Cedro y Marcané. Breve semblanza de Danilo Orozco (Santiago de Cuba, 17 de julio, 1944; La Habana, Cuba, 26 de marzo, 2013)’. Revista Musical Chilena 226 (2016), 85105.CrossRefGoogle Scholar
Serrera, Ramón María. ‘El olvidado sinfonismo iberoamericano’. ABC Sevilla, 11 June 1992. Sección de crítica musical, 74.Google Scholar
Souza Hernández, Adrián de. El sacrificio en el culto de los orichas: Ebbó, animales, materiales y plantas. Havana: Ifatumó, 1998.Google Scholar
Suárez-Pajares, Javier. ‘Los virtuosismos de la guitarra española: del alhambrismo de Tárrega al neocasticismo de Rodrigo’, in La Musique entre France et Espagne. Interactions stylistique 18701939, ed. Jambou, Louis. Paris: Press de L'Université de Paris-Sorbonne, 2003. 231–52.Google Scholar