Musical Imagination: U.S.-Colombian Identity and the Latin Music Boom

By Maria Elena Cepeda | Go to book overview

Introduction
Colombian Connections: Tracing the Boundaries
of the Colombian Musical Imagination
Colombia conexiónColombia Connection
Banada por dos mares y el OrinocoBathed by two oceans and the Orinoco
Café, café, café petroleoCoffee, coffee, coffee petroleum
Ciudades amablesFriendly cities
Mujeres lindasPretty women
Te vas, te vasYou're leaving, you're leaving
Y no la olvidasAnd you won't forget her [Colombia]
Pobre Colombia detentaPoor Colombia holds on
Desnuda, frta y hambrientaNaked, cold, and hungry
Diario tan descontentaEvery day so unhappy
Con la crisis turbulentaWith the turbulent crisis
Pero el bien germina ya …But the good's already germinating
Germina yaAlready germinating

- Aterciopelados,Colombia rnexión” (Colombian connection)

İOh, gloria inmarcesible!Oh, unfading glory!
İOh, jubilo immortal!Oh, immortal joy!
En surcos de DoloresIn furrows of pain
El bien germina yaThe good already germinates

—Chorus, National Hymn of the Republic of Colombia

Within violence-plagued Colombia, art and politics have drawn ever closer in recent years, seemingly in tandem with the nations decades-old political and economic crises. Shortly after the international success of the Colombian singer-songwriter Shakira's 1998 album Dónde están los ladrones? (Where are the thieves?), Colombia's then-president Andres Pastrana in fact hailed the beloved pop star, among other Colombian artists, as “emblems of a new national era” and as living examples of the work ethic and positive

-1-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
Musical Imagination: U.S.-Colombian Identity and the Latin Music Boom
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 255

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.