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This article presents the first study of the life and works of a little-known but brilliant Dominican musician who worked in New York City in the mid-twentieth century. Pulling from archival materials held in the repository of the CUNY Dominican Studies Archives, the article offers an alternative to the conventional canon of Latin music in New York, which focuses on Cuban genres played primarily by Puerto Ricans, demonstrating the centrality of Dominican and other influences to the richly diverse panorama of latinidad in the United States.

\"Highly original and richly researched, this volume challenges many of the bedrock assumptions in Dominican and Haitian nationalist and statist thought, filling important gaps in the literature on the island in English.\"-Lauren Derby, coeditor ofActivating the Past: History and Memory in the Black Atlantic World \"This inspiring collection offers a new way of seeing the histories and futures of Haiti and the Dominican Republic.\"-Laurent Dubois, author ofHaiti: The Aftershocks of History In addition to sharing the Caribbean island of Hispaniola, Haiti and the Dominican Republic share a complicated and at times painful history. YetTransnational Hispaniola shows that there is much more to the two nations' relationship than their perceived antagonism. Rejecting dominant narratives that reinforce opposition between the two sides of the island, contributors to this volume highlight the connections and commonalities that extend across the border, mapping new directions in Haitianist and Dominicanist scholarship. Exploring a variety of topics including European colonialism, migration, citizenship, sex tourism, music, literature, political economy, and art, contributors demonstrate that alternate views of Haitian and Dominican history and identity have existed long before the present day. From a moving section on passport petitions that reveals the familial, friendship, and communal networks across Hispaniola in the nineteenth century to a discussion of the shared music traditions that unite the island today, this volume speaks of an island and people bound together in a myriad of ways. Complete with reflections and advice on teaching a transnational approach to Haitian and Dominican studies, this agenda-setting volume argues that the island of Hispaniola and its inhabitants should be studied in a way that contextualizes differences, historicizes borders, and recognizes cross-island links.

Music is powerful and transformational, but can it spur actual social change? A strong collection of essays, At the Crossroads of Music and Social Justice studies the meaning of music within a community to investigate the intersections of sound and race, ethnicity, religion, gender, sexual orientation, and differing abilities. Ethnographic work from a range of theoretical frameworks uncovers and analyzes the successes and limitations of music's efficacies in resolving conflicts, easing tensions, reconciling groups, promoting unity, and healing communities. This volume is rooted in the Crossroads Section for Difference and Representation of the Society for Ethnomusicology, whose mandate is to address issues of diversity, difference, and underrepresentation in the society and its members' professional spheres. Activist scholars who contribute to this volume illuminate possible pathways and directions to support musical diversity and representation. At the Crossroads of Music and Social Justice is an excellent resource for readers interested in real-world examples of how folklore, ethnomusicology, and activism can, together, create a more just and inclusive world.

THIS SHORT OFFERING ADMONISHES ETHNOMUSICOLOGISTS to interrogate our commitment to socially engaged scholarship and to fathoming the power of music as lived experience. Among the Yorùbá and their descendants in the Americas, crossroads are ruled by the trickster orisa Èşù-Elẹgbára, a master of the auspicious, vital, and dangerous intersections of change; one song befittingly entreats him to “carefully deliver me from danger” (in Mason 1992, 80). As a longtime Society for Ethnomusicology (SEM) member and a lover of ethnomusicology as a discipline, I believe that Èşù’s bamboozling stance of critical and fearless thinking, his insistence on playing the devil’s advocate,

Paul Austerlitz is an ethnomusicologist and musician who has spent decades studying and playing Dominican and Haitian music. Paul’s first book, Merengue: Dominican Music and Dominican Identity (1996), was the first work published in English that offered a comprehensive history of the genre. In that book, Paul traces the early development of merengue and its transformation into the Dominican Republic’s national music. His second book, Jazz Consciousness: Music, Race, and Humanity (2006), uses W. E. B. Du Bois’s concept of double consciousness as a springboard for thinking about music and race and looks at jazz in a variety of settings

Looking at music and Finnish identity in historical perspective, Austerlitz compares today's invented traditions to those of the past, testing Arjun Appadurai's idea that the mass media and deterritorialization make \"imagination\" more important today than it was in previous periods.