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Transnational EncountersMusic and Performance at the U.S.-Mexico Border$
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Alejandro L. Madrid

Print publication date: 2011

Print ISBN-13: 9780199735921

Published to Oxford Scholarship Online: January 2012

DOI: 10.1093/acprof:oso/9780199735921.001.0001

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Transnational Cultural Constructions

Transnational Cultural Constructions

Cumbia Music and the Making of Locality in Monterrey

Chapter:
(p.191) 10 Transnational Cultural Constructions
Source:
Transnational Encounters
Author(s):

Jesus A. Ramos-Kittrell

Publisher:
Oxford University Press
DOI:10.1093/acprof:oso/9780199735921.003.0010

This chapter explores how locally marginalized young musicians and dancers from Monterrey, Mexico, adopted and transformed cumbia in order to develop a sense of transnational belonging that ties them not only to Colombia, the place of origin of the genre, but also to the U.S. Borrowing Raymond Williams's notion of “structures of feeling,” the author shows the preeminent place of music and sound in the construction of a sense of cultural citizenship that is clearly transnational.

Keywords:   Cumbia, Celso Piña, El Gran Silencio, structures of feeling, cultural citizenship

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