Music, Race & Nation - Musica Tropical in Colombia : Musica Tropical in Colombia

Preface vii A Note on Recorded Music xi Introduction 1(29) National Identity 3(11) Race and Nation 14(2) Nation, Gender, Race, and Sexuality 16(7) Music, Identity, and Music Capitalism 23(7) La Costa and Musica Costena in the Colombian Nation 30(23) The Colombian Nation 30(9) La Costa in the Nation 39(3) The Identity of La Costa 42(5) Colombian Popular Music and Costeno Music 47(6) Origin Myths: The Historiography of Costeno Music 53(14) Cultural Dynamics in the Nineteenth Century 53(2) Porro 55(5) Cumbia 60(1) Vallenato 61(3) Conclusion 64(3) Music, Class, and Race in La Costa, 1930-1950 67(39) Class in Barranquilla, 1920s-1940s 67(5) Changes in Music, 1920s-1940s 72(28) Music, Class, and Race in La Costa 100(6) ¡Alegria! Costeno Music Hits The Heartland, 1940-1950 106(38) Bogota and Medellin before Costeno Music 106(10) The Beginnings of Costeno Music in the Colombian Interior 116(9) Costeno Music: Reaction and Counterreaction 125(13) Conclusion 138(6) The Golden Era of Costeno Music---And After 144(43) ``Al Ritmo Paisa'': The Recording Industry 149(4) Changes in Costeno Music, 1950-1980 153(30) Conclusion 183(4) Costenos and Costeno Music in the Interior: Rejection and Adaptation, 1950s-1980s 187(26) Bogota: Resistance 188(4) Medellin: ``More Costeno than La Costa''? 192(4) The Costenos in Bogota and Medellin 196(13) Ownership, Embodiment, and Identity 209(4) Multiculturalism and Nostalgia: The 1990s 213(18) Patterns of Consumption in the 1990s 213(3) Reviving Old Costeno Music 216(4) Costeno Music and Costeno Identity 220(5) A ``Multicultural'' Nation 225(4) Conclusion 229(2) Conclusion: Writing About Colombian Music 231(8) Appendix A: List of Interviewees 239(5) Appendix B: Musical Examples 244(11) Notes 255(32) References Cited 287(24) Index 311