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Introduction
The Music in ​Our ​Blood
Since the beginning of my time as an ethnomusicologist, my questions have always led
back to cultures that I identify with, particularly that of the Dominican Republic. As a
first­generation American and college student, I wanted to understand the culture I identify with
through an academic lens. I wanted to learn how to recreate and advocate for the rhythms that
play in the background of my most important memories. However, I was quickly disappointed
with my first readings on so­called “Dominican cultural practices.” It seemed that some scholars
oversimplified, or generalized, Dominican culture: disregarding the various, complex identities
throughout the country, given its relatively small geographical and population size. Scholars who
have acknowledged the complexities of Dominican culture introduced critical parallels between
merengue, bachata, and Dominican identity. Palo, a prominent rhythm in my life memories, has
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