Trad104 final
Terms
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- samba
- A Brazilian dance that was first introduced in 1917 and finally adopted by Brazilian society in 1930 as a ballroom dance, a dance and type of music originating from African slaves, a religious rhythm
- transculturation
- the phenomenon of merging and converging cultures, it reflects the natural tendency of people (in general) to resolve conflicts over time, both conflicts and resolutions are amplified by communication and transportation technology, cultural change induced by introduction of elements of a foreign culture
- reggaeton
- a Spanish-speaking hybrid of Jamaican dancehall, reggae, Trinidadian soca and American hip hop, It’s a market driven phenomenon that is part of the global hip hop culture, with cultural and/or ethnic specificities, it expands the notion of latinidad, it’s a transnational product, island to the mainland. The web of connections between Puerto Rico (Caribbean) and the continental US
- mass culture
- the culture that is widely disseminated via the mass media, it is pop culture that prevails in modern society, the content of popular culture is determined in large part by industries that disseminate cultural material
- latinidad/latinness
- relatively new concept that was developed within the last decade, it conveys the notion that there is a shared cultural heritage by Latinos as well as common cultural practices. It’s the idea that there is an ethnic group cultural identity; the sense that describes an experience of that which is Latino. Some say that it is a mass-mediated construction that homogenizes all people of Latin American descent into one lump.
- transnationalism
- extending or operation across national boundaries, the social practices of transmigrants and their organizations, the ways in which the nation-state has extended its borders to include, among its citizens, those residing outside the nation-state of origin. It defines the social networks that are established by citizens within and outside the nation-state of origin. It also references not only social practices but cultural practices, the flow of culture (music, images, ideas) aided by transnational culture industries, such as cable television and the rise of MTV and the growth of Spanish language television in the US
- Rock en espanol
- This is the result of living in the contact zone. Originally LS rock. It was based on U.S. rock then Added L.A. sound to it, urban based, resistant, it is the latest generation of Spanish language rock and roll. Borrowing heavily from British and American rock and roll music and from popular music of Spanish-speaking cultures, it has evolved from a cult-like music movement to a more well established music genre.
- resistance
- Understood as an “oppositional†practice against dominant authoritarian notions and ideologies, Social injustice, against status quo
- diaspora soundings
- African diaspora (dispersion of African people, because of slavery) and the resultant cultural products—musical hybridities because of this diaspora, i.e. hips don’t lie –shakira,
- historietas
- little stories, it crosses generational, ethnic and gender lines, helps literacy rates increase, has portability, publishing technology made this more popular, it is a site of struggle where certain societal issues are situated, contested, and (re)negotiatedcultural politics, originated in Mexico
- telenovelas
- Originated in Mexico. They are episodes with open structures that are built on suspense that have Triangular romance stories, a happy end, a family event, and are broadcasted during prime time.
- salsa
-
Salsa is a musical genre that was influenced by forms from Cuba and Puerto Rico but was
developed in New York City during the 1960s and 1970s. Salsa was influenced by North
American jazz and rock - urban regional
- West coast (or Chicano style) hip hop is a hybrid product that fuses “urban†with Mexican “regional†music—is Spanish dominant, it expresses a Latino transnational identity and sensibility and is a market driven phenomenon. It also expands the notion of latinidad by incorporating a Mexican immigrant sensibility and musical styles to hip hop
- bandido
- Bandit figure in his latest re-incarnation, the gangster or Mafioso, an example of Overrepresentation, drug runner, inner-city gang member seen in numerous urban thrillers and crime dramas
- harlot
- The female equivalent to the male latin lover, has a loose sexual identity, female stereotype, a Character who is lusty and hot-tempered
- latin lover
- a male stereotype which shows this character as the possessor of a primal sexuality that makes him Capable of making a sensuous but dangerous brand of love.
- underrepresentation
- Is in the case of telenovelas when the amount of a certain race in the society is not accurately represented proportionately on television. For example, +/- 12.5% of the population only appears on television +/- 2%
- misrepresentation
- This is a representation that is not accurate, a misleading falsehood
- overrepresentation
- This is for example, when the majority of the time Latinos are represented as criminals and/or drug dealers, whereas Latinas are hypersexualized
- Selena
- Alive from 1971-95, queen of tejano music, has crossover appeal, mobilized a large Tejano, Mexicano, and Laitino music base. Her function in rethinking latinidad was the casting of a different race of Latino as her character in the film
- “LATIN BOOMâ€
- In music references mostly pop rock latino, rock en español, and latin(o) hip hop, part of the latino Boom is the oral fixation in regards to gender and sexuality. It deflects the social, demographic, And cultural realities of everyday life among US Latinos and replaces what is socially real Latino with historically familiar, acceptable, and contained images of Latinos that the US can integrate into its own logic. Latinization, an (in)direct result of the changing demographics that have rendered the Latino population in the US to be the largest minority, the greater visibility of Latinos within mainstream media in the US, signals the way in which mainstream culture is being impacted and influenced by Latino culture
- audiotopia
-
Sonic spaces of effective utopian longings where several sites normally deemed incompatible are brought together not only in the space of a particular piece of music itself, but in the production of social space and mapping of geographical space that music makes possible. Diaspora and
Border sounds. Used to describe the relationship between space and music; where space references the specific sites –most often heterogeneous—where (and how) music is consumed; but this space also accounts for the ways in which music is transformed when people move across borders, including diasporas and migration. Functions on two levels, 1)musically and contained within the song and 2) at the site of reception. Diaspora: dispersion of African people because of slavery Border: US-Mex border, contact zone first world grates against the third world