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The Garland Handbook of Latin American Music Part Three: Nations and Musical Traditions, Middle Latin America, Panama.

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Presentation on theme: "The Garland Handbook of Latin American Music Part Three: Nations and Musical Traditions, Middle Latin America, Panama."— Presentation transcript:

1 The Garland Handbook of Latin American Music Part Three: Nations and Musical Traditions, Middle Latin America, Panama

2 Overview  Cultural Heritage Indigenous Indigenous Kuna cultural traditions retain degree of independenceKuna cultural traditions retain degree of independence Musical traditions little practiced outside Kuna communities Musical traditions little practiced outside Kuna communities May reflect centuries of inter-cultural contact with other Amerindian communities May reflect centuries of inter-cultural contact with other Amerindian communities European European Spanish and other European influences evidentSpanish and other European influences evident Musical instruments (i.e., guitar and button-accordion) Musical instruments (i.e., guitar and button-accordion) Song and dance forms (i.e., the decíma, pasillo, punto, and vals) Song and dance forms (i.e., the decíma, pasillo, punto, and vals) Musical contexts (i.e., religious) Musical contexts (i.e., religious) African African Influence most evident amongInfluence most evident among Garachiné (Darién Province) Garachiné (Darién Province) Pearl Island inhabitants Pearl Island inhabitants Dance traditions (i.e., the congo and los diablos de los espejos)Dance traditions (i.e., the congo and los diablos de los espejos) Other African derived dance genresOther African derived dance genres Bullerengue, bunde, cuenecué, cumbia, and el tamborito Bullerengue, bunde, cuenecué, cumbia, and el tamborito

3 Panamanian Musical Traditions  Musical Instruments Idiophones Idiophones Associated with particular ensembles, genres, or occasionsAssociated with particular ensembles, genres, or occasions IncludeInclude Maracas, güiros, castanets, jingle bells, vejiga Maracas, güiros, castanets, jingle bells, vejiga Membranophones Membranophones All major musical genres and dances supported by a drumAll major musical genres and dances supported by a drum Much variation in type, construction, performance practice, and name of drumsMuch variation in type, construction, performance practice, and name of drums Particular name of drum indicates specific role and relationship to other instruments within ensembleParticular name of drum indicates specific role and relationship to other instruments within ensemble El TamboritoEl Tamborito Most important drum-accompanied dance Most important drum-accompanied dance National dance of Panama National dance of Panama

4 Panamanian Musical Traditions  Instruments (cont.) Chordophones Chordophones MejoranaMejorana Five-string, fretted guitar-like instrument Five-string, fretted guitar-like instrument Associated with musical traditions of mestizos Associated with musical traditions of mestizos Provides melody in instrumental ensembles Provides melody in instrumental ensembles also accompaniment for décimasalso accompaniment for décimas Other chordophonesOther chordophones Violin and rabel Violin and rabel Aerophones Aerophones Pito (side-blown cane flute)Pito (side-blown cane flute) Button AccordionButton Accordion German and Austrian influence German and Austrian influence Main melodic instrument in conjuntos tipicos (typical ensembles) Main melodic instrument in conjuntos tipicos (typical ensembles) Genres include popular dance music Genres include popular dance music i.e., cumbias, puntos, tamboritos, etc.i.e., cumbias, puntos, tamboritos, etc.

5 Panamanian Musical Traditions  Musical genres Often associated with particular dance forms, ensemble types, ethnic groups or regions, and particular contexts Often associated with particular dance forms, ensemble types, ethnic groups or regions, and particular contexts Reflect Panama’s diverse cultural heritage in instrumentation, dance styles, and contexts Reflect Panama’s diverse cultural heritage in instrumentation, dance styles, and contexts i.e., el tamborito, mejorana, and the bundei.e., el tamborito, mejorana, and the bunde Place emphasis on song (or text) Place emphasis on song (or text) Including dance genres Including dance genres  Contemporary Popular Music Includes numerous popular music genres Includes numerous popular music genres Reflect influence of greater Caribbean popular music genresReflect influence of greater Caribbean popular music genres Performed primarily in festival context (religious, secular, and national) Performed primarily in festival context (religious, secular, and national)

6 Music and Acculturation  Panama as “Crossroads of the World” Ronald Smith emphasizes the significance of Panama as a space for the coming together of various peoples and their traditions; a bridge or crossroads of sorts (as noted by Dale Olsen) Ronald Smith emphasizes the significance of Panama as a space for the coming together of various peoples and their traditions; a bridge or crossroads of sorts (as noted by Dale Olsen) Consider the significance of this statement in relation to the various musical genres and contexts discussed by Smith Consider the significance of this statement in relation to the various musical genres and contexts discussed by Smith  Questions for discussion How has the geographic positioning of Panama allowed for the emergence of distinct Panamanian musical expressions? How has the geographic positioning of Panama allowed for the emergence of distinct Panamanian musical expressions? What implications does Panama’s continuing geographic significance have for its existing musical traditions? What implications does Panama’s continuing geographic significance have for its existing musical traditions? What implications does the situation in Panama have for our understanding of tradition in general? What implications does the situation in Panama have for our understanding of tradition in general? How might Panama and the crossroads metaphor help us to understand social processes in other parts of Latin America? How might Panama and the crossroads metaphor help us to understand social processes in other parts of Latin America? What do the above questions tell us about the Encounter and its continuing legacy? What do the above questions tell us about the Encounter and its continuing legacy?


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