By the late 1980s and early 1990s, a great number of TV shows and music acts blossomed in Colombia, all of which resorted to regional identity as the narrative core for a renewed idea of national identity. Among them was “Clasicos de la provincial,” an album by Colombian singer Carlos Vives and his band La Provincia (1993), which marked the beginning of a successful career that has spanned nearly three decades. Vives´s work not only earned much deserved recognition in the musical industry from the beginning, but most importantly, has come to be renowned as a landmark in the cultural history of Colombia. This book is the first in-depth analysis focused on the creation and production process of Vives´s work, its main musical and literary features, and its influence on other musicians and in the construction of a narrative about national identity that is still relevant today. More than fifty interviews with Vives and members of the band, musicians, journalists, radio programmers, musical producers, and other key players of the process, together with an extensive review of hundreds of documents, are the sources for this book, which earned its authors a national award in Colombia (2015).

With extensive ethnographic and archival work, this book analyzes the works of Carlos Vives and La Provincia, the most influential artists of Colombia's music scene in the last twenty-five years, to uncover the basis of the Land of Oblivion, a musical and literary metaphor for Colombia's national identity.

By combining chronological coverage, analytical breadth, and interdisciplinary approaches, these two volumes—Histories of Solitude and Histories of Perplexity—study the histories of Colombia over the past two centuries as illustrations of the histories of democracy across the Americas. The volumes bring together over 40 scholars based in Colombia, the United States, England, and Canada working in various disciplines to discuss how a country that has been consistently presented as a rarity in Latin America provides critical examples to re-examine major historical problems: republicanism and liberalism; export economies and agrarian modernization; populism and cultural politics of state formation; revolutionary and counterinsurgent Cold War violence; neoliberal reforms and urban development; popular mobilization and counterhegemonic public spheres; political ecologies and environmental struggles; and labors of memory and the challenge of reconciliation. Contributors are sensitive to questions of subjectivity and discourse, observant of ethnographic details and micro-politics, and attuned to macro-perspectives such as transnational and global histories. These volumes offer fresh perspectives on Colombia and will be of great value to those interested in Latin American and Caribbean history.

Long associated with the pejorative clichés of the drug-trafficking trade and political violence, contemporary Colombia has been unfairly stigmatized. In this pioneering study of the Miami music industry and Miami’s growing Colombian community, María Elena Cepeda boldly asserts that popular music provides an alternative common space for imagining and enacting Colombian identity. Using an interdisciplinary analysis of popular media, music, and music video, Cepeda teases out issues of gender, sexuality, race, ethnicity, and transnational identity in the Latino/a music industry and among its most renowned rock en español, pop, and vallenato stars. Musical ImagiNation provides an overview of the ongoing Colombian political and economic crisis and the dynamics of Colombian immigration to metropolitan Miami. More notably, placed in this context, the book discusses the creative work and media personas of talented Colombian artists Shakira, Andrea Echeverri of Aterciopelados, and Carlos Vives. In her examination of the transnational figures and music that illuminate the recent shifts in the meanings attached to Colombian identity both in the United States and Latin America, Cepeda argues that music is a powerful arbitrator of memory and transnational identity.

DIVChallenges the disciplinary boundaries and the assumptions underlying the fields of Latin American Studies and American/U.S. Studies, demonstrating that the "Americas" is a concept that transcends geographical place./div

This collection considers the accordion and its myriad forms, from the concertina, button accordion, and piano accordion familiar in European and North American music to the exotic-sounding South American bandoneon and the sanfoninha. Capturing the instrument's spread and adaptation to many different cultures in North and South America, contributors illuminate how the accordion factored into power struggles over aesthetic values between elites and working-class people who often were members of immigrant and/or marginalized ethnic communities. Specific histories and cultural contexts discussed include the accordion in Brazil, Argentine tango, accordion traditions in Colombia, cross-border accordion culture between Mexico and Texas, Cajun and Creole identity, working-class culture near Lake Superior, the virtuoso Italian-American and Klezmer accordions, Native American dance music, and American avant-garde.

A dynamic and original collection of essays on the transnational circulation and changing social meanings of Latin music across the Americas. The transcultural impact of Latin American musical forms in the United States calls for a deeper understanding of the shifting cultural meanings of music. Musical Migrations examines the tensions between the value of Latin popular music as a metaphor for national identity and its transnational meanings as it traverses national borders, geocultural spaces, audiences, and historical periods. The anthology analyzes, among others, the role of popular music in Caribbean diasporas in the United States and Europe, the trans-Caribbean identities of Salsa and reggae, the racial, cultural, and ethnic hybridity in rock across the Americas, and the tensions between tradition and modernity in Peruvian indigenous music, mariachi music in the United States, and in Trinidadian music.