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Journal articles on the topic 'Music, puerto rican'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 January 2023

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1

Espada-Brignoni, Teófilo, and Frances Ruiz-Alfaro. "Culture, Subjectivity, and Music in Puerto Rico." International Perspectives in Psychology 10, no. 1 (January 2021): 3–12. http://dx.doi.org/10.1027/2157-3891/a000001.

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Abstract. Understanding human phenomena requires an in-depth analysis of the interconnectedness that arises from a particular culture and its history. Subjectivity as well as a collective subjectivity emerges from human productions such as language and art in a specific time and place. In this article, we explore the role of African-based popular music genres such as bomba and plena as ways of negotiating narratives about Puerto Rican society. Popular music encompasses diverse meanings. Puerto Rican folk music’s subjectivity provides narratives that distance Puerto Ricans from an individualistic cosmovision, allowing us to understand the social and political dimensions of this complex Caribbean culture. The events of the summer of 2019, which culminated in the ousting of governor Ricardo Rosselló from his position, illustrate how music can foster social change.

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2

Padilla, Felix M. "Salsa: Puerto Rican and Latino music." Journal of Popular Culture 24, no. 1 (June 1990): 87–104. http://dx.doi.org/10.1111/j.0022-3840.1990.00087.x.

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3

Gates, Stephanie. "Danza and the Signifying Process in Rosario Ferré’s Maldito amor." Latin American Literary Review 46, no. 92 (November 12, 2019): 59–65. http://dx.doi.org/10.26824/lalr.122.

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Rosario Ferré’s 1986 novella Maldito amor takes its name from a famous Puerto Rican danza written toward the end of the 19th century by composer Juan Morel Campos, who had both African and Spanish heritage. This article explores the tradition of the danza, the significance of Ferré’s use and mirroring of Morel Campos’s danza in the narrative, as well as the signifying process she explores and manipulates in an effort to question official versions of Puerto Rican history. By using the composer’s danza as a subtext for the structure and themes of the novel, Maldito amor creates another set of signifiers for how we consider this traditional piece of music. The title of the novel also demonstrates the ambivalent attitudes that Puerto Ricans often have toward the ruling elite on the island itself: the bourgeoisie function as both hegemonic power but are also oppressed under that of the United States. By re-writing history via the “Maldito amor” danza, the novella recognizes the constant chain of signifiers that constitutes reality, and adds a new and subversive one to include in the chain of discourse surrounding Puerto Rican history and identity.

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4

Colón-Montijo, César. "Her Name Was Doña Margot." Small Axe: A Caribbean Journal of Criticism 25, no. 2 (July 1, 2021): 36–49. http://dx.doi.org/10.1215/07990537-9384198.

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Margarita “Doña Margot” Rivera García (1909–2000) was a black working-class Puerto Rican woman whose labor as a composer, healer, midwife, and spiritual medium made her an esteemed community leader among her neighbors from Santurce, a predominantly black enclave in San Juan. Through her bomba and plena compositions, she helped forge modern black Puerto Rican music amid the rapid industrialization of Puerto Rico after the 1950s. However, her story has been overshadowed by the aura of her son, the legendary Afro–Puerto Rican singer Ismael “Maelo” Rivera (1931–87). Although Doña Margot is praised as a maternal figure who gave Maelo the gift of rhythm, her story as a woman and artist has remained widely unheard. This essay examines her parallel presence and erasure in salsa historiography, taking her testimonios about her musical gift as offering a counternarrative that defies masculinist music histories and serves as a site of memory that endures erasure.

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5

Schramm, Adelaida Reyes, and Ted Solis. "Puerto Rican Music in Hawai'i. Kachi-kachi." Yearbook for Traditional Music 24 (1992): 177. http://dx.doi.org/10.2307/768499.

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6

Sommers, Laurie Kay, and Ted Solis. "Kachi-Kachi, Puerto Rican Music in Hawai'i." Latin American Music Review / Revista de Música Latinoamericana 13, no. 1 (1992): 130. http://dx.doi.org/10.2307/780066.

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7

Howard, Karen. "Puerto Rican Plena: The Power of a Song." General Music Today 32, no. 2 (November 16, 2018): 36–39. http://dx.doi.org/10.1177/1048371318809971.

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In order to bring music of Puerto Rico to the general music classroom, it is important to understand the sociocultural and sociohistorical context of the music. The traditional genre of plena shares cultural threads with West Africa, Spain, and indigenous (Taíno) culture. Commonly known as El Periodico Cantado (the singing newspaper), plena songs give updates on what people are feeling and current events effecting the community. The plena song Que Bonita Bandera (What a Beautiful Flag) is explored for its potential uses in elementary and secondary general music classes.

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8

Powell, Derrek. "Yo soy de p fkn r." Borealis – An International Journal of Hispanic Linguistics 11, no. 2 (October 17, 2022): 7–40. http://dx.doi.org/10.7557/1.11.2.6411.

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Based in a sociophonetic analysis of lyrics performed by eight male Reggaeton artists of Puerto Rican origin, this study combines raciolinguistic and variationist frameworks to examine the frequency of occurrence and underlying linguistic, musicological, and poetic factors conditioning the distribution of the lateral variant of syllable- and word-final alveolar tap /ɾ/. Given that this trait is regarded as a distinctive characteristic of Puerto Rican Spanish capable of indexing in-group membership alongside positive assessments of Puerto Rican national identity, the study explores the implementation of this feature in popular performances of Puerto Ricanness in the context of global Latin Urban Music (Delgado Díaz et al. 2021, Medina Rivera 1997, Valentín Márquez 2015).The results show that lateralization is more frequently used by contemporary reggaetoneros like Bad Bunny and Ozuna, whose professional careers began in an era in which Reggaeton enjoyed global accessibility, contrasted to the pioneering artists of the genre such as Daddy Yankee and Nicky Jam, who use the variant significantly less frequently. Additionally, the results suggest that, while the most recent tracks performed by newer artists exhibit the highest rates of occurrence, the inverse is true for artists whose careers began in the early 2000s before the global consumption of Reggaeton, who are documented as decreasing use of [l] in what is interpreted as an attempt to distinguish their works from younger performers. This work contributes to the growing literature regarding the linguistic construction of performative identities permeating the popular music industry, offering insight into the racialization of [l] as a distinct Puerto Rican feature relative to expressions of ethnonational pride

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9

de Arce, Daniel Mendoza. "Domingo Delgado Gomez (1806-56): Puerto Rican Master Composer." Latin American Music Review / Revista de Música Latinoamericana 16, no. 2 (1995): 154. http://dx.doi.org/10.2307/780371.

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10

Dudley, Shannon, and Frances Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." Yearbook for Traditional Music 31 (1999): 156. http://dx.doi.org/10.2307/767997.

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11

Duany, Jorge, Jeremy Marre, Hannah Charlton, Pedro A. Rivera, Susan Zeig, and A. G. Quintero Rivera. ""Salsa," "Plena," and "Danza": Recent Materials on Puerto Rican Popular Music." Latin American Music Review / Revista de Música Latinoamericana 11, no. 2 (1990): 286. http://dx.doi.org/10.2307/780128.

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12

Waxer, Lise, and Frances R. Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." Latin American Music Review / Revista de Música Latinoamericana 20, no. 1 (1999): 148. http://dx.doi.org/10.2307/780169.

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13

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (January 1, 2006): 105–58. http://dx.doi.org/10.1163/22134360-90002492.

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Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (eds.); Dominican Migration: Transnational Perspectives (Rosemary Polanco)Christine M. Du Bois; Images of West Indian Immigrants in Mass Media: The Struggle for a Positive Ethnic Reputation (Dwaine Plaza)Luis Raúl Cámara Fuertes; The Phenomenon of Puerto Rican Voting (Annabelle Conroy)Philip Gould; Barbaric Traffic: Commerce and Antislavery in the Eighteenth-Century Atlantic World (William A. Pettigrew)Laurent Dubois; Avengers of the New World: The Story of the Haitian Revolution (Yvonne Fabella)Sibylle Fischer; Modernity Disavowed: Haiti and the Cultures of Slavery in the Age of Revolution (Ashli White)Philip D. Morgan, Sean Hawkins (eds.); Black Experience and the British Empire (James Walvin)Richard Smith; Jamaican Volunteers in the First World War: Race, Masculinity and the Development of National Consciousness (Linden Lewis)Muriel McAvoy; Sugar Baron: Manuel Rionda and the Fortunes of Pre-Castro Cuba (Richard Sicotte)Ned Sublette; Cuba and Its Music: From the First Drums to the Mambo (Pedro Pérez Sarduy)Frances Negrón-Muntaner; Boricua Pop: Puerto Ricans and the Latinization of American Culture (Halbert Barton)Gordon Rohlehr; A Scuffling of Islands: Essays on Calypso (Stephen Stuempfle)Shannon Dudley; Carnival Music in Trinidad: Experiencing Music, Expressing Culture (Donald R. Hill)Jean-Marc Terrine; La ronde des derniers maîtres de bèlè (Julian Gerstin)Alexander Alland, Jr.; Race in Mind: Race, IQ, and Other Racisms (Autumn Barrett)Livio Sansone; Blackness Without Ethnicity: Constructing Race in Brazil (Autumn Barrett)H.U.E. Thoden van Velzen, W. van Wetering; In the Shadow of the Oracle: Religion as Politics in a Suriname Maroon Society (George L. Huttar, Mary L. Huttar)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG), 80 (2006), no. 1 & 2

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14

KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 80, no. 1-2 (January 1, 2008): 105–58. http://dx.doi.org/10.1163/13822373-90002492.

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Maximilian C. Forte; Ruins of Absence, Presence of Caribs: (Post)Colonial Representations of Aboriginality in Trinidad and Tobago (Neil L. Whitehead)Nick Nesbitt; Voicing Memory: History and Subjectivity in French Caribbean Literature (H. Adlai Murdoch)Camilla Stevens; Family and Identity in Contemporary Cuban and Puerto Rican Drama (Lydia Platón)Jonathan Goldberg; Tempest in the Caribbean (Jerry Brotton)Michael Chanan; Cuban Cinema (Tamara L. Falicov)Gemma Tang Nain, Barbara Bailey (eds.); Gender Equality in the Caribbean: Reality or Illusion (A. Lynn Bolles)Ernesto Sagás, Sintia E. Molina (eds.); Dominican Migration: Transnational Perspectives (Rosemary Polanco)Christine M. Du Bois; Images of West Indian Immigrants in Mass Media: The Struggle for a Positive Ethnic Reputation (Dwaine Plaza)Luis Raúl Cámara Fuertes; The Phenomenon of Puerto Rican Voting (Annabelle Conroy)Philip Gould; Barbaric Traffic: Commerce and Antislavery in the Eighteenth-Century Atlantic World (William A. Pettigrew)Laurent Dubois; Avengers of the New World: The Story of the Haitian Revolution (Yvonne Fabella)Sibylle Fischer; Modernity Disavowed: Haiti and the Cultures of Slavery in the Age of Revolution (Ashli White)Philip D. Morgan, Sean Hawkins (eds.); Black Experience and the British Empire (James Walvin)Richard Smith; Jamaican Volunteers in the First World War: Race, Masculinity and the Development of National Consciousness (Linden Lewis)Muriel McAvoy; Sugar Baron: Manuel Rionda and the Fortunes of Pre-Castro Cuba (Richard Sicotte)Ned Sublette; Cuba and Its Music: From the First Drums to the Mambo (Pedro Pérez Sarduy)Frances Negrón-Muntaner; Boricua Pop: Puerto Ricans and the Latinization of American Culture (Halbert Barton)Gordon Rohlehr; A Scuffling of Islands: Essays on Calypso (Stephen Stuempfle)Shannon Dudley; Carnival Music in Trinidad: Experiencing Music, Expressing Culture (Donald R. Hill)Jean-Marc Terrine; La ronde des derniers maîtres de bèlè (Julian Gerstin)Alexander Alland, Jr.; Race in Mind: Race, IQ, and Other Racisms (Autumn Barrett)Livio Sansone; Blackness Without Ethnicity: Constructing Race in Brazil (Autumn Barrett)H.U.E. Thoden van Velzen, W. van Wetering; In the Shadow of the Oracle: Religion as Politics in a Suriname Maroon Society (George L. Huttar, Mary L. Huttar)In: New West Indian Guide / Nieuwe West-Indische Gids (NWIG), 80 (2006), no. 1 & 2

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15

Carrasquillo, Rosa Elena. "The great woman singer: gender and voice in Puerto Rican music." Canadian Journal of Latin American and Caribbean Studies / Revue canadienne des études latino-américaines et caraïbes 43, no. 3 (August 21, 2018): 451–53. http://dx.doi.org/10.1080/08263663.2018.1507973.

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16

Spitta, Silvia. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." MLN 114, no. 2 (1999): 434–36. http://dx.doi.org/10.1353/mln.1999.0016.

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17

Lee, Summer Kim. "The great woman singer: gender and voice in Puerto Rican music." Women & Performance: a journal of feminist theory 27, no. 3 (September 2, 2017): 355–58. http://dx.doi.org/10.1080/0740770x.2017.1364943.

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18

Alvarado, Leticia. "The great woman singer: Gender and voice in Puerto Rican music." Latino Studies 16, no. 1 (January 25, 2018): 141–43. http://dx.doi.org/10.1057/s41276-017-0109-4.

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19

Berrios-Miranda, Marisol, and Frances R. Aparicio. "Listening to Salsa: Gender, Latin Popular Music, and Puerto Rican Cultures." Ethnomusicology 44, no. 2 (2000): 336. http://dx.doi.org/10.2307/852540.

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20

Guerrero, Paulina. "A Story told through Plena: Claiming Identity and Cultural Autonomy in the Street Festivals of San Juan, Puerto Rico." Island Studies Journal 8, no. 1 (2013): 165–78. http://dx.doi.org/10.24043/isj.282.

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Las Fiestas de la Calle de San Sebastián is a four day-long festival in San Juan, Puerto Rico. While the festival comprises music and dance that is a combination of various Caribbean and Latin American aesthetics, there is a small group of local musicians who insist on staying away from the larger throngs to specifically play a Puerto Rican music medium known as plena. By defining a distinct physical space that is separate from the rest of the festival, but also a part of the festival, they sing throughout the night speaking to contemporary issues of American imperialism, class warfare, and corrupt politicians. During the festival the complex power dynamics of Puerto Rico as a United States territory, lacking both independence as a sovereign nation and the same rights as a state, are manifested in festival performance. This performance tries to negotiate how the island remains autonomous while being attached to a more powerful mainland economy.

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21

Hernández-Banuchi, Alberto. "Gonzalo Núñez, Rubén Darío y el manuscrito Los arcanos de la música." (an)ecdótica 5, no. 1 (January 29, 2021): 31–59. http://dx.doi.org/10.19130/iifl.anec.2021.5.1.19783.

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We examine the history and circumstance in the life of Puerto Rican composer Gonzalo Núñez (1850-1915) during the period from 1900 to 1903. During his second sojourn in Paris he maintained a close personal relationship with Rubén Darío and Amado Nervo, joined by other poets, writers and artists. An extensive on-site research work, conducted in various European, North American and Caribbean libraries and archives, permitted us to gather documentation about the nomadic life of the musician in Cuba, Mexico, Puerto Rico, Europe and North America. We show that Núñez’s unpublished manuscript Los arcanos de la música, housed in the Archive of Music and Sound of Puerto Rico, is the main source of two important articles by Rubén Darío.

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22

Goytia Almeda, Iván. "‘Si quiere,’ mi Machete te muerde’: A Multimodal Critical Discourse Analysis of “This is not America” by Residente." Open Journal for Studies in Arts 5, no. 2 (August 27, 2022): 31–44. http://dx.doi.org/10.32591/coas.ojsa.0502.01031a.

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The social problems of Latin America have been extensively examined in diverse fields and music has become a significant way to inform and interpret these social problems. Residente, a Puerto Rican singer, presents his song “This is Not America” that demonstrates a valuable interpretation of the issues that impact Latin American and its people through the song lyrics and music video. Thus, this paper analyzes the discursive and visual features of the music video for the single ‘This is Not America’ and reports on how Residente interprets the political and social problems in Latin America. Multimodal critical discourse analysis has been implemented for the exploration of the music video and lyrics alike.

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23

Colón-León, Vimari. "Bomba: The Sound of Puerto Rico’s African Heritage." General Music Today 34, no. 3 (February 1, 2021): 13–19. http://dx.doi.org/10.1177/1048371321990665.

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Bomba is an emblematic Puerto Rican musical genre that emerged 400 years ago from the colonial plantations where West African slaves and their descendants worked. It remains one of the most popular forms of folk music on the island and serves as significant evidence of its rich African heritage. This article explores the main components of bomba by making them more accessible to those that have not experienced it from an insider’s perspective. The material presented in this article provides a learning sequence that could take the form of several lessons, or even a curricular unit. Transcriptions of rhythms typically learned aurally are also included.

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24

López-León, Ricardo, Oswaldo Lorenzo-Quiles, and Anna Rita Addessi. "Music education in Puerto Rican elementary schools: A study from the perspective of music teachers." International Journal of Music Education 33, no. 2 (March 14, 2014): 146–62. http://dx.doi.org/10.1177/0255761413515811.

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25

Dávila, Verónica. "REVIEW | The Great Woman Singer: Gender and Voice in Puerto Rican Music." IASPM@Journal 8, no. 1 (August 2018): 140–42. http://dx.doi.org/10.5429/2079-3871(2018)v8i1.12en.

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26

Lawrence La Fountain-Stokes. "Trans/Bolero/Drag/Migration: Music, Cultural Translation, and Diasporic Puerto Rican Theatricalities." WSQ: Women's Studies Quarterly 36, no. 3-4 (2008): 190–209. http://dx.doi.org/10.1353/wsq.0.0118.

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27

Glasser, Ruth. "Paradoxical Ethnicity: Puerto Rican Musicians in Post World War I New York City." Latin American Music Review / Revista de Música Latinoamericana 11, no. 1 (1990): 63. http://dx.doi.org/10.2307/780358.

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28

Hernandez, Deborah Pacini, and Juan Flores. "From Bomba to Hip Hop: Puerto Rican Culture and Latino Identity." Ethnomusicology 46, no. 2 (2002): 334. http://dx.doi.org/10.2307/852787.

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29

Gilsing, Sterre. "Review of The great woman singer: Gender and voice in Puerto Rican music." European Review of Latin American and Caribbean Studies | Revista Europea de Estudios Latinoamericanos y del Caribe, no. 107 (June 3, 2019): 6. http://dx.doi.org/10.32992/erlacs.10494.

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30

Pinckney, Warren R. "Puerto Rican Jazz and the Incorporation of Folk Music: An Analysis of New Musical Directions." Latin American Music Review / Revista de Música Latinoamericana 10, no. 2 (1989): 236. http://dx.doi.org/10.2307/779952.

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31

Alvarado, Lorena. "Review: The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Journal of Popular Music Studies 31, no. 4 (2019): 180–82. http://dx.doi.org/10.1525/jpms.2019.31.4.180.

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32

Diaz, Edgardo Diaz. "Puerto Rican Affirmation and Denial of Musical Nationalism: The Cases of Campos Parsi and Aponte Ledee." Latin American Music Review / Revista de Música Latinoamericana 17, no. 1 (1996): 1. http://dx.doi.org/10.2307/780335.

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33

Shaw, Julia T. "“The Music I Was Meant to Sing”." Journal of Research in Music Education 64, no. 1 (February 9, 2016): 45–70. http://dx.doi.org/10.1177/0022429415627989.

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This article is based on a multiple embedded case study, the purpose of which was to explore adolescent choral students’ perceptions of culturally responsive pedagogy (CRP) in three demographically contrasting choirs of an urban nonprofit children’s choir organization. The case presented here focused on an after-school choir situated in a Puerto Rican enclave, where a multiethnic teacher designed instruction that was responsive to a community with a significant migrant and immigrant Hispanic population. Adolescents perceived their teacher’s culturally responsive practice as honoring their own cultural backgrounds while also expanding their cultural and intellectual horizons. Although the students generally perceived their choral experiences to be culturally responsive, they also identified potential barriers to practicing CRP. Perceived barriers related to the complexity of students’ cultural identities and challenges inherent in practicing CRP equitably given constraints on instructional time. By encouraging style shifting between performance practices associated with diverse musical genres and meaningfully bridging students’ musical experiences at home and school, the culturally responsive learning environment explored in this study fostered connections between students’ musical and cultural identities.

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34

Rivera. "New York Afro-Puerto Rican and Afro-Dominican Roots Music: Liberation Mythologies and Overlapping Diasporas." Black Music Research Journal 32, no. 2 (2012): 3. http://dx.doi.org/10.5406/blacmusiresej.32.2.0003.

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35

Thompson, Donald, and Catherine Dower. "Puerto Rican Music following the Spanish-American War: 1898, the Aftermath of the Spanish-American War and Its Influence on the Musical Culture of Puerto Rico." Latin American Music Review / Revista de Música Latinoamericana 6, no. 1 (1985): 112. http://dx.doi.org/10.2307/779971.

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36

Badger, Reid, and Ruth Glasser. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." American Historical Review 101, no. 4 (October 1996): 1296. http://dx.doi.org/10.2307/2169819.

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37

Averill, Gage, and Ruth Glasser. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Notes 53, no. 1 (September 1996): 88. http://dx.doi.org/10.2307/900316.

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38

Moore, Robin, and Ruth Glasser. "My Music is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Hispanic American Historical Review 76, no. 4 (November 1996): 761. http://dx.doi.org/10.2307/2517958.

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39

Horn, Maja. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Revista Hispánica Moderna 74, no. 2 (2021): 255–58. http://dx.doi.org/10.1353/rhm.2021.0026.

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40

Manuel, Peter. "Puerto Rican Music and Cultural Identity: Creative Appropriation of Cuban Sources from Danza to Salsa." Ethnomusicology 38, no. 2 (1994): 249. http://dx.doi.org/10.2307/851740.

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41

Padin, Jose Antonio, and Ruth Glasser. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Contemporary Sociology 25, no. 1 (January 1996): 115. http://dx.doi.org/10.2307/2077007.

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42

Rosenberg, Ruth E. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Notes 76, no. 1 (2019): 132–35. http://dx.doi.org/10.1353/not.2019.0062.

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43

Hajek, Jessica C. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Women and Music: A Journal of Gender and Culture 23, no. 1 (2019): 212–17. http://dx.doi.org/10.1353/wam.2019.0013.

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44

Moore, Robin. "My Music Is My Flag: Puerto Rican Musicians and Their New York Communities, 1917-1940." Hispanic American Historical Review 76, no. 4 (November 1, 1996): 761–63. http://dx.doi.org/10.1215/00182168-76.4.761.

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45

Borge, Jason. "The Great Woman Singer: Gender and Voice in Puerto Rican Music by Licia Fiol-Matta." Revista de Estudios Hispánicos 53, no. 3 (2019): 1047–49. http://dx.doi.org/10.1353/rvs.2019.0074.

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46

Solís, Ted. ""You Shake Your Hips Too Much": Diasporic Values and Hawai'i Puerto Rican Dance Culture." Ethnomusicology 49, no. 1 (January 1, 2005): 75. http://dx.doi.org/10.2307/20174354.

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47

Robinson, Cheri. "Residente’s ‘War’ and the reframing of terror." Studies in Spanish & Latin American Cinemas 17, no. 3 (September 1, 2020): 331–49. http://dx.doi.org/10.1386/slac_00025_1.

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The music video ‘Guerra’/‘War’ (Pérez Joglar or Residente 2017), directed and sung by the Puerto Rican musician Residente (René Pérez Joglar), features war-scarred landscapes, fleeing refugees, overcrowded camps and eerily idyllic suburban life. The discordant realities challenge viewers’ potential apathy towards ongoing conflicts and refugee crises while the rap lyrics in Spanish, when sung by the listener, conflate the singer with suffering groups, thus placing suffering and terror centre-stage through visuals and lyrics. This article proposes that Residente begins his music video with a narrative of terror, currently associated in popular discourses with refugees from areas in conflict, then overwhelms this narrative with one of suffering, which is subsequently followed by images of wealth, effectively reframing the terror factor through comparisons and stark contrasts. In addition to the perpetrators of terror, the viewer is confronted with refugees as the victims of terror, the hypocritical illusion of the security of suburban life and the realization that, in war, everyone loses.

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Sanchez-Johnsen, Lisa, Amanda Dykema-Engblade, Carlos E. Rosas, Leonilda Calderon, Alfred Rademaker, Magdalena Nava, and Chandra Hassan. "Mexican and Puerto Rican Men’s Preferences Regarding a Healthy Eating, Physical Activity and Body Image Intervention." Nutrients 14, no. 21 (November 3, 2022): 4634. http://dx.doi.org/10.3390/nu14214634.

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This study examined the logistical, practical, and cultural preferences of Latinos regarding the design of a healthy eating, physical activity, and body image intervention. Puerto Rican and Mexican men (n = 203) completed an interview as part of an NIH-funded study. Overall, 66.5% preferred the intervention to be in Spanish only or both Spanish and English; 88.67% said it was moderately, very or extremely important for the intervention leader to be bilingual; and 66.01% considered it moderately to extremely important for the leader to be Hispanic or Latino. Most participants (83.74%) reported they would be willing to attend an intervention that met twice per week and 74.38% said they would be willing to attend an intervention that met for 1.5 to 2 h, twice weekly. Overall, the majority said they would be moderately to extremely interested in attending an exercise program if it consisted of aerobics with Latin or salsa movements (74.88%) and if it consisted of aerobics with Latin or salsa music (70.44%). Some participants were moderately to extremely interested in attending an intervention if it included dichos (Latino sayings) (65.02%) and cuentos (folktales or stories) (69.46%). The findings have implications for lifestyle and body image interventions aimed at preventing cardiometabolic diseases.

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Orellano Colon, Elsa M., Luna S. Lugo, Ivelisse Rivera Rodríguez, Natalia Valentín Carro, and Nelson Almodovar Arbelo. "3107 Understanding barriers to and facilitators of a healthy lifestyle of Hispanic adults with end stage renal disease in hemodialysis: Intensive Development and Experiences in Advancement of Research and Increased Opportunities (IDEARIO)." Journal of Clinical and Translational Science 3, s1 (March 2019): 157. http://dx.doi.org/10.1017/cts.2019.360.

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OBJECTIVES/SPECIFIC AIMS: Physical inactivity and mineral imbalances greatly contribute to morbidity and mortality in patients with end-stage renal disease (ESRD). Barriers for engaging in physical activity and adhering to the hemodialysis diet have been reported predominantly with white participants from countries other than Puerto Rico. Therefore, this study’s aims were to explore the barriers and facilitators that Hispanic adults with end-stage renal disease encountered for engaging in physical activity and adhering to the hemodialysis diet. METHODS/STUDY POPULATION: Three focus groups were conducted among 19 adults living with ESRD who received services from a renal center in Puerto Rico. Sessions were recorded, transcribed, and coded first using inductive methods. RESULTS/ANTICIPATED RESULTS: The presence of fatigue, lack of acceptance of the renal condition, and lack of knowledge of appropriate exercises for patients in hemodialysis were the most frequently reported barriers to engage in physical activities. Cost of the renal diet, limited availability of the renal diet products, the restrictive nature and the lack of Puerto Rican taste of the renal diet, and inadequate educational materials were the most frequent barriers to adhere to the hemodialysis diet reported by the sample. The most commonly reported facilitators to engaging in physical activities were having a positive attitude, opportunities for group exercises, and listening to Hispanic music while exercising. Health benefits, family support, having financial resources, availability of community resources, and having willpower were the most commonly reported facilitators to adhere to the hemodialysis diet. DISCUSSION/SIGNIFICANCE OF IMPACT: We identified a number of culturally relevant individual, interpersonal, institutional, and community-related barriers and facilitators to physical activity and adherence to the hemodialysis diet in patients with ESRD living in Puerto Rico. Evidence-based solutions to overcome these barriers and strategies for enhancing these facilitators should be addressed in future studies aimed at increasing the level of physical activity and increasing adherence to the hemodialysis diet in patients with ESRD living in Puerto Rico.

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Knights, Vanessa. "Listening to Salsa: Gender, Latin Popular Music and Puerto Rican Cultures. By Frances R. Aparicio. Wesleyan University Press, 1998. 311 pp." Popular Music 20, no. 1 (January 2001): 121–36. http://dx.doi.org/10.1017/s026114300124135x.

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