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Theories associating merengue with African music, however, were criticised as “unpatriotic.”
Ethnomusicologist Paul Austerlitz also discusses a middle­ground theory, pointing out that,
“European­derived musics came under African influence in the Americas, … while merengue
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developed from European forms, it is a syncretic, Afro­Hispanic genre.” Theories surrounding
merengue’s creation, however unclear, nevertheless parallel that of the creation of the Dominican
people; a product of African and European involvement on the island. The similar hybridity seen
in the roots of merengue and the Dominican people further clarifies merengue’s role in
representing Dominican identity.
Beyond its connections to culture, merengue as a national symbol has been reinforced
through the political history of the Dominican Republic. With the beginning of Rafael Trujillo’s
campaign, merengue began playing a new role of uniting Dominicans of all regions to forge a
sense of national support behind Trujillo. Austerlitz describes Trujillo’s usage of a merengue
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quartet to sing his praises during his travels around the country. After becoming president in
1930, Trujillo adopted and enforced merengue cibaeno as the national symbol by requiring all
dance bands to include merengue in their setlist. Further influencing merengue in the country
was the dictator’s brother, Jose “Petan” Trujillo, and his interests in music. During Trujillo’s
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dictatorship, Petan founded the radio station La Voz del Yuna, the Dominican Recording
Company, Caracol Records, and sponsored the merengue group Super Orquesta San Jose. By
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1952, La Voz del Yuna moved to Santo Domingo, was renamed ​La Voz Dominicana​,
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Austerlitz, et al. 3.
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Austerlitz, et al. 4.
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Austerlitz, et al. 52.
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The Voice of the Yuna.
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The capital of the country.
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The Dominican Voice.
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