Latin American Musical Styles

Below is a sampling of some of the main genres of Latin music, including Salsa, Samba, Cumbia, Bolero, Mambo, Merengue, Vallenato, Tango, Danzon, Mariachi, Ranchera, Nortena, Tex-Mex, Andean, and Bossa Nova.

Salsa Genre - Valio La Pena, as performed by contemporary Latin popular music artist Marc Anthony.

Samba Genre - Samba Do Brasil - Ey Macalena

Cumbia Genre - Tributo a la Cumbia Colombiana en Vivo - Alberto Barros

Bolero Genre - People singing in the street of Santiago de Cuba in 2001

Mambo Genre - "Mambo" music video by Azucar Moreno

Merengue Genre - "MERENGUE - FERNANDO VILLALONA (By La FBI Band)

Vallenato Genre - Jorge Adel Factor Xs - Vallenato Music - Mi propia Raza

Tango Genre - Tango - Flamenco Spanish Guitar

Danzon Genre - "Cuba: Rhythm in Motion" - Danzon group with Davison and Loman, Santiago de Cuba 2005

Mariachi Genre - Authentic Mariachi band playing on the streets of Guadalajara, Mexico

Ranchera Genre - Authentic Ranchera music in the streets of Coban, Guatemala.

Nortena Genre - Music from the northern part of Mexico in the Latin Festival in Chicago on 29 August 2009.

Tex-Mex Genre - Tex-Mex Munequita - Albert Zamora

Andean Genre -Traditional andean music song title "Kusi-Kusi" as performed by RUMINAHUI from Peru.

Bossa Nova Genre - Dirus: The Best of a Bossa Nova Music.

Latin American Recipe - Arepas

An instructional youtube video on how to make Arepas - a traditional Latin American dish, popular in Colmubia and Venezuela. It seems simple enough to prepare!

Map of Contemporary Latin America Political Geography and Modern Indigenous Languages

Although the current official languages of Latin America are mainly comprised of Spanish, Portuguese, French, Dutch, and English, the map below details all of the indigenous languages currently in use today within the borders of its nations.

Song Analysis - There is no one like you (No hay nadie como tu)

Below is a youtube video of the song, along with a written analysis of the song's lyrics and musical composition.

‘No hay nadie como tu’ (English translation: There is no one like you) is a song written and performed by Latin alternative-rap duo Calle 13. It was the first single released from their third studio album entitled de Atrás Vienen Conmigo, released in 2008. The track also features Mexican alternative rock group Café Tacuba (No Hay Nadie Como Tú, iTunes Preview). It is difficult to pigeon hole or label a specific style of music for the song, as it is a blend of Latin pop, rock and dance music. One of the keys to Calle 13's success is its ability to graft Puerto Rican slang onto an eclectic mix of hip-hop, samba, cumbia and other Latin American styles in a way that appeals to a broad audience (Los Angeles Times). From a lyrical perspective, the song is one that speaks to many sociopolitical issues, under the guise of a love song.

Before one can properly provide an analysis of the lyrical content and musical composition within a song, a proper contextual background of the place and time in which the authors wrote it must be established. An understanding of this contextual background will enable a deconstruction of the concepts within the song, and ultimately uncover the communities it touches and creates.

‘No hay nadie como tu’ was written as a large collaborative effort amongst five Latin American authors. Two of its primary authors were Calle 13’s two front men, step-brothers René Pérez Joglar and Eduardo José Cabra Martínez. The brothers were born in districts of San Juan, Puerto Rico in 1978. As aforementioned, an analysis of Puerto Rico’s background and culture surrounding the epoch between 1978, and the release of the song in 2008, are essential to understanding its context. This contextual analysis is primarily concerned with the economic, social, and political backdrop of the time.

While Peurto Rico is amongst the richest of the Caribbean nations, overall its people are economically challenged relative to most of the western world. Peurto Rico’s Gross Domestic Product (GDP) is comparable to lesser European economies such as Latvia and Poland (U.S. Census Bureau). Calle13’s René Pérez Joglar eloquently sums up this dynamic having stated that Puerto Rican’s are, “too poor to be rich and too rich to be poor” (Los Angeles Times). It is noteworthy that the tiny Caribbean island had some of its darkest economic days in 2006, less than 2 years before the release of the song. In 2006, the Puerto Rican government faced significant shortages in cash flows, which forced the closure of the local Department of Education and 42 other government agencies, culminating in the first-ever partial shutdown of the government in the island's history (The Washington Post). These relative economic struggles of Puerto Rico translate to large economic and social class gaps amongst those citizens on either side of the spectrum.

Socially and culturally, Peurto Rico is a diverse melting pot. Its people are comprised of indigenous cultures, such as the Taíno, as well as descendants of Africa, Spain, and a new influx of people from North America. This diversity leads to a large spectrum of cultural perspectives from its people, and challenges for social understanding and unity.

Politically, Puerto Rico is uniquely governed in that it lacks a unique political identity and autonomy. Puerto Rico has a republican form of government, which is subject to United States jurisdiction and sovereignty. While its current powers are all delegated by the United States Congress, it lacks full protection under the United States Constitution (U.S. Department of State). As a result, Peurto Rico lacks a clear sovereignty and identity as a nation, and so to by extension its people.

With this understanding of the economic, social, and political contexts under which ‘No hay nadie como tu’ was penned, a greater understanding of the concepts put forth by its lyrics can be derived. At its heart, the songs message is one of human diversity. Throughout its prose, the author points out cultural binary opposites, dichotomies or spectrums amongst people socially, economically and politically. This social binary can be observed in the line, “There are courageous people and people that are fearful”. The economic spectrum is illustrated in the line, “wealthy poor middle class”, and economic hardships in the line “there are many mouths and little food”. Finally, political diversity is portrayed in the line, “There are horizontal mentalities, [as well as] vertical and diagonal [ones]”, and its ambiguity in the line, “there are rulers and presidents”. There are many more similar contrasts, some subtle and some overtly apparent, within this cultural text. The commonality amongst them all is the awareness that humanity has many shades and flavours of a spectrum which at time polarizes society. Additionally, it is interesting to note the diversity within the musical composition of the song mirrors its lyrical content. The music is a unique mixture of rap, rock and dance, a sort of diverse melting point of musical genres which compliment and underscore the message of the song.

Undoubtedly, the life experiences and cultural background in Peurto Rico coloured these observations by the authors. Peurto Rico, with its relative economic hardships that have led to large socioeconomic gaps in class, its inherent melting pot of cultures and people, and its lack of a unified political identity, are the underlying context that spring forth the concepts of human, cultural, and class diversity from the authors.

The song as a piece of poetic literature, and as popular culture in the form of a very successful song, carries with it much importance for the people of Puerto Rico, and by extension Latin America. The song being a celebration of diversity validates the heritage and culture of its people. Embracing diversity in this way gives the Latin American people the identity and esteem they may have lost at times, as a result of European Colonialism and the subjugation of its people that still resonates today. It is in this way that ‘No hay nadie como tu’ serves to establish a community amongst its audience. This developed community is made up of Latin people that view their heritage of cultural diversity with pride.

From a greater perspective, the song conveys a universal message of acceptance and understanding of human diversity. By extension the song establishes a greater global community of those that share these humanistic ideals. This is an important message for not only Latin people, but all citizens of the world. As modern technology continues to shrink the global village that is our world, acceptance, and ideally embracement, of the ideals of unity and understanding are paramount. While these are heavy concepts, the framing of them within a rap/rock song that masquerades as a love song at a superficial level, is a clever juxtaposition that enables a subversive introduction of its message to the masses of popular culture.

From a personal perspective, I appreciate the song for both its acoustic aesthetic appeal, and more importantly the sociopolitical constructs and themes it examines. I feel that any piece of great art, which popular music should aspire to be, should challenge the audience beyond a superficial level, and engage on an intellectual level that leads to personal reflection. Clearly this song goes beyond merely a catchy song with a dance hook; it confronts cultural diversity and constructs that are framed by the unique Latin heritage and perspective of its authors. Additionally, the Latin flavour and diversity of the musical composition, does much to compliment this Latin perspective and underscore the message and context of this uniquely Latin pop song.

References

“Calle 13, in search of the real Latin America”, Los Angeles Times, accessed June 10, 2012, http://articles.latimes.com/2009/aug/02/entertainment/ca-calle2

“No Hay Nadie Como Tú (feat. Café Tacuba)”, I-Tunes Preview, accessed June 10, 2012, http://itunes.apple.com/us/album/no-hay-nadie-como-tu-feat./id292371770

      

“Puerto Rican Music TV”,  Puerto Rican Music TV, accessed June 11, 2012, http://www.puertoricanmusictv.com/

"Puerto Rico Extends Government Shutdown”, The Washington Post, accessed June 11, 2012, http://www.washingtonpost.com/wpdyn/content/article/AR2006000458.html

“Median Household Income”, U.S. Census Bureau. Factfinder.census.gov, accessed June 11, 2012, http://factfinder.census.gov

“Foreign Affairs Manual of U.S. Nationality in U.S. Territories and Possessions” U.S. Department of State, accessed June 11, 2012, http://www.state.gov/documents/organization/86756.pdf         

Environmental Maps of Latin America

Physical Features Map: This map defines the significant physical features of Latin America. The scope and diversity of the region provides for some of the grandest physical features on the fact of the planet, these include:

Amazon River: The largest river on earth in terms of  discharged water volume, drainage basin and navigable waterways.

Andes Mountains: The highest continuous mountain barrier on earth (7,000 kilometers)

Amazon Rainforest:  Represents over half of the planet's remaining rainforests, and it comprises the largest and most species-rich tract of tropical rainforest in the world.

Natural Resource Distribution Map: This map defines the significant natural resources and their distrbution in Latin America. The physcial and ecological diversity of the region provides for a rich foundation of natural resources. As the map details, Latin America is particularly abundant in minerals throughout the region.

Indigenous Culture Images (Architecture, Art and Artifacts)

Images depicting the architecture, art and artifacts of the major indigenous cultures of Latin America.

Tupi Image 1: Painting entitled 'Tupi woman' from the National Museum of Denmark

Tupi Image 2: A Tupiniquim chief (Cacique) in (Brasília, 2007)

Tupi Image 3: Albert Eckhout: a mixed-race (Mameluco) woman (circa 1641–1644)

Tapuia Image 1: Castelo da Tapuia - Sítio Novo

Tapuia Image 2: Painting entitled 'Dança dos Tapuias', Albert Eckhout

Tapuia Image 3: Painting entitled 'Brazilian Tapui Man', Albert Eckhout

Musica Image 1: Model of ancient Muisca houses in the Archaeology Museum of Sogamoso

Musica Image 2: Ruins of an ancient Muisca temple in the Villa de Leyva near El Infiernito

Musica Image 3: Muisca raft (1200–1500 BC), representation of the initiation of the new Zipa in the lake of Guatavita

Taironas Image 1: Tairona figure pendant in gold

Taironas Image 2: Monument in Santa Marta depicting Taironas

Taironas Image 3: Teyuna, The Lost City of Colombia once inhabited by the Tairona people

Guarani Image 1: Guarani village in Itapua, Paraguay

Guarani Image 2: Guaraní incised ceramics bowls, Museum Farroupilha, in Triunfo

Guarani Image 3: A Guaraní family captured by slave hunters. By Jean Baptiste Debret

Aztec Image 1: Aztec pyramid of Santa Cecilia Acatitlan

Aztec Image 2: The Aztec Sun Stone, also known as the Aztec Calendar Stone

Aztec Image 3: Ancient Aztec cookware and pottery

Maya Image 1: The Pyramid of Kukulkan believed to be built before 800 AD, is easily the most impressive and widely recognized of the structures of Mayan architecture.

Maya Image 2: Maya book written in the Maya script

Maya  Image 3: The Tablet found in the Temple of the Foliated Cross

Inca Image 1: Perhaps the most renowned aspect of Incan architecture is the use of terraces to increase the land available for farming. Inca agricultural terraces in Pisac

Inca Image 2: Inca drinking goblet

Inca Image 3: An example of Inca pottery art

Wayuu Image 1: Wayuu handcrafted mochilas woolen bags

Wayuu Image 2: Wayuu improvised hutch to hang hammocks

Wayuu Image 3: A Wayuu rancheria

Warao Image 1: Warao Baskets - They wrap these fibers around a coil of a palm branch. This technique offers us some of the strongest and tightest weaves available. The Warao baskets are some of the finest in the world today.
Warao Image 2: Thatched roof housing on the banks of the Orinoco river in Venezuela

Warao Image 3: A Warao family using a monoxylon on a small Orinoco Delta caño, located near the Monagas border with Delta Amacuro in Venezuela.

Pemon Image 1: A Pemon village depicting typical housing

Pemon Image 2: Young child wearing a traditional Pemon headdress

Pemon Image 3: Pemon arts and crafts on display

Yanomami Image 1: Yanomami Carrying Basket, woven with the fibers of the mamure plant

Yanomami Image 2: Brazil Amazon rainforest Yanomami Indian girl

Yanomami Image 3: A shabono hut, used by the Yanomami Amerindians of extreme southern Venezuela and extreme northern Brazil. Used as temporary dwellings, they are traditionally constructed mainly of thatched palm leaves and wood.

Carib Image 1: Painting which depicts Caribs as the descendants of West Africans, whose members were captured along the West African seaboard and from the interior and who were exchanged for trade goods, enslaved, and transported across the Atlantic to work on the plantations of the islands.

Carib Image 2: Canoe fashioned from wood and thatched roof dwelling

Carib Image 3: Carib natives holding a woven basket

Arawak Image 1: Drawing depicting an Arawak maiden and waterfall

Arawak Image 2: In all Arawak settlements several families shared one house, which was called a caneye. It was round, and made of wattle with a thatched roof.

Arawak Image 3: Arawak stone carving of a bird

Taino Image 1: Taino stone mask carving

Taino Image 2: Taino Carving found in a cave in Puerto Rico

Taino Image 3: Reconstruction of a Taíno village in Cuba

Miskito Image 1: Miskito Cays Biological Reserve is one of 78 protected areas in Nicaragua

Miskito Image 2: Miskito Indians from Nicaragua wait for food at a Honduran camp

Miskito Image 3: Miskito Tunu Bark Art Piece

Mapuche Image 1: Stone weapons used in Mapuche tribal warfare

Mapuche Image 2: The traditional house, ruka, has a single door, open towards the east, an orientation which expresses the preference of the Mapuche for Puelmapu (Land of the East), where the deities reside.

Mapuche Image 3: Mapuche elder women playing a ceremonial drum

Quechua Image 1: Man playing a traditional Quechua flute

Quechua Image 2: Ruined remains of an ancient settlement built by the Quechua people in the Andes mountains of Peru. 

Quechua Image 3: Quechua carved gourd depicting the 1880 Battle of Arica, by Flores Kananga, Peru

Aymara Image 1: Aymara woman dancing Morenada. Bolivia

Aymara Image 2: Aymara women hawking their wares in a local market

Aymara Image 3: At the shores of Lake Umayo, a small lake not 20km from Lake Titicaca, still stand the ancient funerary towers of Sillustani. Thought to be built by the Aymara

Guaymi Image 1: Guaymi indian painting on wood

Guaymi Image 2: Guaymi mother and daughter outside their humble dwelling made of tin, thatch and wood

Guaymi Image 3: A display of Guaymi necklaces

Cueva Image 1:  Before the Spanish arrived, this was a village inhabited by the Cueva

Cueva Image 2: Cueva wooden indian sculptures

Cueva Image 3: Cueva handmade rug

Paez Image 1: Paez people playing traditional drums and flutes

Paez Image 2: Mother and child in traditional dress

Paez Image 3: Paez coffee framer in Columbia

Mixtec Image 1: Painting of Mixtec warrior

Mixtec Image 2: Mixtec man and woman performing a traditional dance

Mixtec Image 3: Mixtec geometric stone carving on building facade

Zapotec Image 1: A funerary urn in the shape of a "bat god" or a jaguar, from Oaxaca, AD 300–650

Zapotec Image 2: Ancient Zapotec sports arena

Zapotec Image 3: An assortment of Zapotec rugs

Latin America Indigenous Culture Maps (Pre and Post Conquest)

Map of Latin America displaying the regional footprint of indigenous culture populations prior to the start of the Spanish conquests in 1492.

Map of Latin America displaying the current regional footprint of indigenous culture populations, some of which are now extinct as recognized civilizations, although their bloodlines remain.