| Regina Roebuck: | |
| Name: | Regina Roebuck |
| Academic Institution: | University of Louisville |
| email: | roebuck@louisville.edu |
| Country: | Estados Unidos/United States |
| Paper Title | Cut `N` Mix or Sample and Hold?: Intertextuality and Identity in Latin American Contemporary Music Part II |
| Abstract: | Steven Connor explains that from the onset, the cultural discussion about postmodernism has addressed the role of popular culture in society. The literature produce by critics who study postmodernism show a trend in the analysis of pastiche, collage, and parody in music, film, and mass-media. Most critics cite Frederic Jameson diagnosis of pastiche as the emptiness of postmodernity as a point of departure in their analysis (Connor 188). For instance, Angela MacRobbie, sees radical possibilities for the construction of new, fictional identities by means of the invocation of texts and images. Dick Hedbige argues that sampling and ‘version’ appear as key ingredients to the formation of a new cultural trend that allows voices from the margin to surface and occupy the mainstream that usually values originality. Sampling and versions allows the incorporation of sounds, rhythms and lyrics from different sources into a “new” song whose originality derives from how its author cut and mixes, rather than how it “creates” original lyrics or sounds. The originality lies in the creation of the mix. Our two-part paper poses that Latin American Music stands as a great example of intertextuality based in pastiche, parody and collage and fit perfectly within the conversation regarding postmodernity. Our diachronic study of the evolution of “Guantanamera” from poem to song, to movie and to the 1994 film soundtrack shows its changing role as a cultural tool for national identity from its inception to now. On the second part of our analysis, we provide different manifestations of this trend in and Argentinean, Brazilian, Ecuadorian and Mexican music. |