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Chapter 1:

Representations of Dominican Identity through Music

Palo’s significance in reflecting the Dominican identity can be seen by the current

perceptions of Dominican identity, as well as the promotion of other musics within the country.

Popular musics have gained most academic attention for representing the complex, syncretic

identity of the Dominican people. Ethnomusicologists have referred to merengue as a music

promoted from top­down; from the government to the people. Bachata, on the other hand, has

been referenced as the epitome of bottom­up music; a genre that has been promoted from the

lowest classes of the country, eventually giving it significance and reaching the elite. Palo,

although largely unexplored, represents a part of Dominican identity that merengue and bachata

leave out. Palo represents the persecuted, and often disregarded, historical past of the Dominican

Republic and its people. This chapter gives a brief history of the Dominican Republic to

highlight current perceptions of Dominican identity. Furthermore, I introduce discussions

surrounding merengue and bachata to explore the contrast between these popular forms of music,

often depicted as Dominican emblems, and a traditional, Afro­Dominican music, often ignored

or persecuted as unpatriotic.

Identity in the Dominican Republic

Dominican identity can be described differently by each different person in each different

region of the Dominican Republic. It is neither static, definitive, nor clear. Nevertheless, an

understanding of Dominican history clarifies certain aspects of Dominican identity that are

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