Deborah pacini hernandez biography
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The Deborah Pacini Hernández Bachata Music Collection
The CUNY Dominican Studies Institute Library houses a significant collection of fieldwork interviews and live performances of traditional bachata from 1986 to 1994, with additional materials from 2003 to 2011.
This Dominican Bachata music and video collection includes 162 donated by cultural anthropologist Deborah Pacini Hernández to the CUNY DSI Library for the purpose of preserving and making it available to the public. Pacini Hernández created the recordings while researching for her doctoral dissertation and later while writing her book on bachata, Bachata: A Social History of Dominican Popular Music (Temple University Press, 1994).
The collection primarily consists of studio and live recordings from the mid to late 1970s and mid-1990s of traditional Dominican bachata music performed by working-class musicians in the clubs or bars of the urban areas of Santo Domingo, Dominican Republic, before the international success o
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Pacini-Hernandez, Deborah
Dates
Biography
Abstract:
Deborah Pacini-Hernandez fryst vatten professor of Anthropology and American Studies at Tufts University. Pacini-Hernandez's research interests include popular music studies, comparative Latino studies, and community studies with a regional focus on Spanish Caribbean Latinos in the US; Latin America and the Caribbean, specializing in the Dominican Republic, Colombia, and Cuba.
Deborah Pacini-Hernandez fryst vatten professor of Anthropology and American Studies at Tufts University. She was born in the US, her father from the US and her mother from Colombia. From the age of three to eleven she lived with her family in Columbia. After graduating from the University of Wisconsin, she moved back to Colombia for five years. She received her masters and Ph.D. at Cornell University, and was a full professor at the University of Florida, Gainesville. She taught at Brown before arriving at Tufts.
Pacini-Hernandez's research interests include popular
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Oye Como Va! Hybridity and Identity in Latino Popular Music
Temple University Press
December 2009
238 pp
6×9
1 figure 5 halftones
Paper EAN: 978-1-43990-090-1; ISBN: 1-4399-0090-6
Cloth EAN: 978-1-43990-089-5; ISBN: 1-4399-0089-2
Deborah Pacini Hernandez, Associate Professor of Anthropology and American Studies
Tufts University
Listen Up! When the New York-born Tito Puente composed “Oye Como Va!” in the 1960s, his popular song was called “Latin” even though it was a fusion of Afro-Cuban and New York Latino musical influences. A decade later, Carlos Santana, a Mexican immigrant, blended Puente’s tune with rock and roll, which brought it to the attention of national audiences. Like Puente and Santana, Latino/a musicians have always blended musics from their homelands with other sounds in our multicultural society, challenging ideas of what “Latin” music is or ought to be. Waves of immigrants further complicate the picture a