The New Trend in Anthropology Today

My experience and observation of Cuban medicinal drug tout ensembleowed me to understand the ways in which Cuban medicament and Cuban politics put on intersected, and made me conclude that music is a strategy for maintaining a specific set of values, norms and mores inviolate to Cuban society. The music I heard, in all its variant forms and modes of presentation, is deeply embedded in Cuban culture and identity.

Leon Argeliers in Essays on Cuban utilization of medicine pointed out that folk and best-selling(predicate) music, two of the most common genres of musical expression, are of excess significance in identifying the social and cultural values and ideas crotchety to a country, a place and its people. Commenting on Cuba, Argeliers identified a body of folk, popular and classical music that has been, over time, influenced by a number of different trends. Some of these came from Spanish and non-Hispanic Europe, near from Africa, some from neighboring Caribbean and Latin American countries, some from the united States, and still more from among the multicultural peoples of Cuba. Cuban music, and dance, has reflected at all time what could be called the "state of the nation" and the overall interests of the Cuban peoples, in Cuba and abroad.

Philip Sweeney in The Rough Guide to Cuban Music commented that for a nation of under 11 million people, and a size less than half that of the United Kingdom, Cuba has exerted a disproportionate influence over folk and popular music for umteen decades. Both prior to and followi

Houk, mob T. "Spirits, Blood, and Drums: the Orisha Religion in Trinidad." Philadelphia, PA: Temple University Press, 1995.

Perez, Louis A. Jr. On Becoming Cuban: Identity, Nationality and Culture. University of North Carolina Press, 1999.

If son represents the musical custom of pre-revolutionary Cuba, neuva trova, or the Cuban version of the pan-Latin American "new rime" movement, represents the post-revolutionary period.

In this movement, which first appeared in the mid-mid-sixties, and eventually received decreed sponsorship from the government and the Casa de las Americas (an important cultural organization located in Havana), it is possible to identify affinities with the "protest" music of American singers of the 1960s such as Bob Dylan, Phil Ochs and Joan Baez. In a rebuke I attended, Professor Marzan raised my awareness of neuva trova. According to Marzan, neuva trova derived from the sometime(a) trova and is essentially an urban music form. Nueva trova emerged along with the Cuban Revolution, lamentable out of the Sierra Maestre and into urban barrios. Many Cuban towns have casas de la trova, or houses in which musicians come together to practice and play this and other musical compositions. Professor Marzan graciously took our broad(a) class into one of Cuba's popular casas de la trovas. The content of neuva trova reflects a positive vision of an equal and just society. Leonardo Acosta contends that nueva trova nisus texts of post-revolutionary Cuba move beyond the machismo and objectification of women and hackneyed romantic rhetoric institute in the popular folk songs of pre-revolutionary Cuba. In that time period, Cuba had pay back "America's bachelor entertainment center, with its glittery world of casinos, cabarets, and over two hundred brothels" (Manuel 43). Anyone truly interested in equality of all races, ethnic groups and genders must view the change in music brought roughly by the Revolution in a positive light.

As part of my field trip, I learned more well-nigh th
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