Nuyorican Movement

Nuyorican Movement
Nuyorican Movement
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Giannina Braschi.jpg
Giannina Braschi
NuyoricanPoetsCafe.JPG
Nuyorican Poets Café

The Nuyorican Movement is a cultural and intellectual movement involving poets, writers, musicians and artists who are Puerto Rican or of Puerto Rican descent, who live in or near New York City, and either call themselves or are known as Nuyoricans.[1] It originated in the late 1960s and early 1970s in neighborhoods such as Loisaida, East Harlem and the South Bronx as a means to validate Puerto Rican experience in the United States, particularly for poor and working class people who suffered from marginalization, ostracism, and discrimination. The term Nuyorican was originally used as an insult until leading artists such as Miguel Algarín reclaimed it and transformed its meaning. Key cultural organizations such as the Nuyorican Poets Café, the Puerto Rican Traveling Theater, and El Museo del Barrio are the result of this movement. Its political counterparts in 1970s New York included the Young Lords.

Contents

Literature and poetry

Some of the best known Nuyorican writers and poets who have written about their experiences of being a Puerto Rican in New York and who have been responsible for the Nuyorican Movement, directly or indirectly, are:

The Nuyorican Poets Café, a non-profit organization in Alphabet City, Manhattan, founded by Pedro Pietri, Miguel Piñero and Miguel Algarín, is a bastion of the Nuyorican Movement. Edwin Torres, a well-known Nuyorican poet, is a regular at the cafe. Other modern day notable Nuyorican poets include Willie Perdomo, Mariposa (María Teresa Fernández), Lemon Andersen, Caridad de la Luz (La Bruja) and Emanuel Xavier. Fairly new poets making their mark in the Nuyorican poetry community are Jani Rosado (Jani Bomba Rose of musingsandscribbles.com), Roberto Plena Irizarry (BombaPlena on YouTube) and Angelique Imani Rodriguez (penhittingpaper.com).[8] Charlie Vázquez has also contributed to this movement, particularly as the host of the Hispanic Panic series inaugurated in 2008.

Music

Nuyorican music became popular in the 1960s with the recordings of Tito Puente's "Oye Como Va" [9] and Ray Barretto's "El Watusi" and incorporated Spanglish lyrics.[10]

Latin bands who had formerly played the imported styles of cha-cha-cha or charanga began to develop their own unique Nuyorican music style by adding flutes and violins to their orchestras. This new style came to be known as the Latin boogaloo. Some of the musicians who helped develop this unique music were Joe Cuba with "Bang Bang",[11] Richie Ray and Bobby Cruz with "Mr. Trumpet Man", and the brothers Charlie and Eddie Palmieri.[1] Subsequently, Nuyorican music has evolved into Latin rap, freestyle music, rap, salsa, and reggaeton.

The development of the Nuyorican music can be seen in salsa and hip hop music. Musician and singer Willie Colón shows this diaspora in his salsa music by blending the sounds of the trombone, an instrument popular in the New York urban scene, and the cuatro, an instrument native to Puerto Rico and prevalent in salsa music. Furthermore, many salsa songs address this diaspora and relationship between the homeland, in this case Puerto Rico, and the migrant community, New York City.[1] Some see the positives and negatives in this exchange, but often the homeland questions the cultural authenticity of the migrants. In salsa music, the same occurs. The Puerto Ricans question the validity and authenticity of the music. Today, salsa music has expanded to incorporate the sounds of Africa, Cuba, and other Latin American countries, creating more of a salsa fusion. In addition, with the second and third generations of Nuyoricans, the new debated and diasporic sound is hip hop. With hip hop, Nuyoricans gave back to Puerto Rico with rappers like Vico C and Big Pun, who created music that people in both New York and Puerto Rico could relate to and identify with. Other notable Puerto Ricans who made contributions to hip-hop were Dj Disco Wiz, Prince Whipper Whip, Dj Charlie Chase, Tony Touch, Tego Calderon, Fat Joe, Jim Jones, N.O.R.E, Joel Ortiz, and Lloyd Banks (Puerto Rican Mother). Currently groups like Circa '95 (PattyDukes & RephStar) are continuing the traditions as torchbearers of the Nuyorican Hip-Hop movement. Thus the musical relationship between the United States and Puerto Rico has become a circular exchange and blended fusion, as embodied in the name Nuyorican.[1]

Playwrights and theater companies

Spanish-language Puerto Rican writers such as René Marqués who wrote about the immigrant experience can be considered as antecedents of Nuyorican movement. Marqués's best-known play The Oxcart (La Carreta) traces the life of a Puerto Rican family who moved from the countryside to San Juan and then to New York, only to realize that they would rather live a poor life in Puerto Rico than face discrimination in the United States.[12] Puerto Rican actress Míriam Colón founded the Puerto Rican Traveling Theatre in 1967 precisely after a successful run of The Oxcart.[13][14] Her company gives young actors the opportunity to participate in its productions. Some of PRTT's productions, such as Edward Gallardo's Simpson Street concern life in a New York's ghettos.[15] Other theater companies include Pregones Theater, established in 1979 in the Bronx and currently directed by Rosalba Rolón, Alvan Colón-Lespier, and Jorge Merced.[16][17]

Playwrights who pioneered the Nuyorican movement include Miguel Piñero, Jesús Papoleto Meléndez, Pedro Pietri, and Tato Laviera, and now include younger artists such as Migdalia Cruz, Edwin Sánchez and Lin-Manuel Miranda. Piñero became an acclaimed playwright with Short Eyes, a drama about prison life which received a Tony Award nomination and won an Obie Award. Judge Edwin Torres wrote Carlito's Way, the saga of a Puerto Rican drug dealer which eventually became a Hollywood film.[18] Lin-Manuel Miranda is a Tony-Award winning actor and playwright best known for the musical In the Heights.

Currently, spaces such as B.A.A.D. (the Bronx Academy of Arts and Dance),[19] established in 1998 by the dancer and choreographer Arthur Aviles and the writer Charles Rice-González in the Hunts Point neighborhood of the Bronx, provide numerous Nuyorican, Latina/o, and queer of color artists and writers with a space to present and develop their work.[20] Many additional groups use the two theaters at the Clemente Soto Vélez Cultural Center in Loisaida for their events.[21]

Visual arts

The Nuyorican Movement has always included a strong visual arts component, including arts education. Pioneer Raphael Montañez Ortiz established El Museo del Barrio in 1969 as a way to promote Nuyorican art. Painters and print makers such as Rafael Tufiño, Fernando Salicrup, Marcos Dimas, and Nitza Tufiño established organizations such as Taller Boricua.[22] Writers and poets such as Sandra María Esteves and Nicholasa Mohr alternated and complemented their prose and lyrical compositions with visual images on paper. At other times, experimental artists such as Adal Maldonado (better known as Adál) collaborated with poets such as Pedro Pietri. During this time, the gay Chinese American painter Martin Wong collaborated with his lover Miguel Piñero; one of their collaborations is owned by the Metropolitan Museum of Art.[23] In the 1970s and 1980s, graffiti-inspired artists such as Jean-Michel Basquiat achieved great recognition for their work. Installation artists such as Antonio Martorell and Pepon Osorio created (and continue to create) environments that bring together local aesthetic practices with political and social concerns. Since 1993, the Organization of Puerto Rican Artists (better known by its acronym O.P. Art) has opened a space for Puerto Rican visual artists in New York, particularly through its events at the Clemente Soto Vélez Cultural Center in the Lower East Side.[24] More recently painters and muralists such as James De La Vega, Miguel Luciano and Sofia Maldonado have continued to expand and explore this tradition. The work of curators and museum directors such as Marvette Pérez, Yasmin Ramírez, Deborah Cullen, and Susana Torruella Leval has also contributed to this effort and helped Puerto Rican and Nuyorican art gain more recognition.

Further reading

  • Allatson, Paul. Key Terms in Latino/a Cultural and Literary Studies. Blackwell Publishing, 2007.
  • Dávila, Arlene. Barrio Dreams: Puerto Ricans, Latinos, and the Neoliberal City. Berkeley: University of California Press, 2004. ISBN 0520240928
  • Flores, Juan. "Creolite in the 'Hood: Diaspora as Source and Challenge. CENTRO Journal 16, no. 2 (Fall 2004):283-289.
  • ------. Divided Borders: Essays on Puerto Rican Identity. Houston: Arte Público Press, 1993. ISBN 1558850465
  • ------. From Bomba to Hip-hop: Puerto Rican Culture and Latino Identity. New York: Columbia University Press, 2000. ISBN 0231110766
  • La Fountain-Stokes, Lawrence M. Queer Ricans: Cultures and Sexualities in the Diaspora. Minneapolis: University of Minnesota Press, 2009. ISBN 9780816640911
  • Negrón-Muntaner, Frances. Boricua Pop: Puerto Ricans and the Latinization of American Culture. New York: New York University Press, 2004. ISBN 0814758177
  • Rivera, Raquel Z. New York Ricans from the Hip Hop Zone. New York: Palgrave Macmillan, 2003. ISBN 1403960445
  • Sánchez-González, Lisa. Boricua Literature: A Literary History of the Puerto Rican Diaspora. New York: New York University Press, 2001. ISBN 0814731465
  • Sandoval-Sánchez, Alberto. José, Can You See?: Latinos on and off Broadway. Madison: The University of Wisconsin Press, 1999. ISBN 0299162001

See also

References

  1. ^ a b c d Allatson, Paul. Key Terms in Latino/a Cultural and Literary Studies. Blackwell Publishing, 2007.
  2. ^ http://www.shaggyflores.com/pelobuenobookinfo.htm
  3. ^ Random House
  4. ^ The Boston Globe, "Spanglish is everywhere now, which is no problema for some, but a pain in the cuello for purists," by Ilan Stavans, 9/14/2003.
  5. ^ Biography of Jesus Colon
  6. ^ [1]
  7. ^ Life and Flow
  8. ^ About the Nuyorican Poets Café
  9. ^ Awards and Medals from Smithsonian
  10. ^ Grammy-winning Latin-jazz drummer Ray Barretto dies at 76", Houston Chronicle, 17 February 2006
  11. ^ Stickball Hall of Fame
  12. ^ An Analysis of “The Oxcart” by René Marqués, Puerto Rican Playwright
  13. ^ De la Roche, Elisa. Teatro Hispano!: Three Major New York Companies. New York: Garland, 1995. ISBN 081531986X
  14. ^ Puerto Rican Traveling Theatre Home Page
  15. ^ Simpson Street
  16. ^ Vásquez, Eva C. Pregones Theatre: A Theatre for Social Change in the South Bronx. New York: Routledge, 2003. ISBN 0415946751
  17. ^ Pregones Theater Home Page
  18. ^ PUERTO RICO HERALD Puerto Rico Profile: Judge Edwin Torres
  19. ^ Bronx Academy of Arts and Dance Home Page
  20. ^ La Rocco, Claudia. "In Bronx, Dancer Does Right Thing." New York Times, May 22, 2008.
  21. ^ Clemente Soto Vélez Cultural Center Home Page
  22. ^ Taller Boricua Home Page
  23. ^ Metropolitan Museum of Art. "Martin Wong (American, 1946–1999), Attorney Street (Handball Court with Autobiographical Poem by Piñero)." MetMuseum.org.
  24. ^ Organization of Puerto Rican Artists Home Page.

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