Cuban Women and Salsa To the Beat of Their Own Drum
Salsa is both an American and transnational phenomenon, however women in salsa have been neglected. To explore how female singers negotiate issues of gender, race, and nation through their performances, Poey engages with the ways they problematize the ide
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Cuban Women and Salsa To the Beat of Their Own Drum
Delia Poey
CUBAN WOMEN AND SALSA
Copyright © Delia Poey, 2014. Softcover reprint of the hardcover 1st edition 2014 978-1-137-38281-8 All rights reserved. First published in 2014 by PALGRAVE MACMILLAN® in the United States—a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the World, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries.
ISBN 978-1-349-48016-6 DOI 10.1057/9781137382825
ISBN 978-1-137-38282-5 (eBook)
Library of Congress Cataloging-in-Publication Data Poey, Delia. Cuban women and salsa : to the beat of their own drum / Delia Poey. pages cm Summary: “Although Salsa has garnered interest from various disciplines in the last fifteen years, the contributions of female performers has been largely ignored. This book adds to the field by tracing the participation of Cuban and Cuban-American women as either solo artists or lead vocals in the development and popularization of Salsa, highlighting their staging of gender, race and nation” — Provided by publisher. Includes bibliographical references and index. 1. Salsa (Music)—History and criticism. I. Title. ML3535.5.P64 2014 781.64—dc23
2. Women singers—Cuba.
2014017864
A catalogue record of the book is available from the British Library. Design by Integra Software Services First edition: October 2014 10 9 8 7 6 5 4 3 2 1
In memory of my mother, Delia Alcazar de Poey, whose voice I hear in every Cuban song
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C o n t e n ts
List of Figures
ix
Acknowledgments
xi
Introduction
1
1 From the Streets to the Nightclub: Rumberas as Salsa Precursors
13
2 Celia Cruz: From “La guarachera de Cuba” to the “Queen of Salsa”
33
3 La Lupe: The Excessive Performance of Race and Gender
55
4 Crossing Over: Gloria Estefan’s Performance of the/on the Hyphen
77
5 No se parece a nada / Not Like Anything Else: Albita Rodríguez Bends the Rules
99
Conclusion
121
Notes
131
Discography
153
Works Cited
157
Index
173
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Figures
2.1 Celia Cruz. Courtesy of Izzy Sanabria SalsaMagazine.com Archives 3.1 La Lupe. Courtesy of Izzy Sanabria SalsaMagazine.com Archives
41 60
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Ac k n ow l e d g m e n ts
This book would not have been possible without the help and support of countless individuals. I would like to first thank the Alcazar and Poey clans, who brought and kept music in my life. Donna Nudd, Terry Galloway, Carol Batker, Jerrilyn McGregory, and Carrie Sandahl read early chapter drafts and offered their incr
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