Maria Bruno

                        

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The evolution of Puerto Rican popular culture in the island and the United States during the first decades of American colonial rule has been full of complexity and at times even contradictory factors. Since the arrival of the Americans, Puerto Rican culture has constantly been in contact with a multitude of foreign countries. This has resulted in the Puerto Rican culture being heavily influenced and even changed by these foreign cultures.

Beginning with Spanish colonial rule, music in Puerto Rican society has always played a major role in daily life. "In a colonial society where church and state were intertwined, so were sacred and secular occasions… Thus Spanish royal marriages and births, local patron saint days or more generalized Catholic holidays, all became occasions for frequent concerts and dances as well as religious processions and masses" (Glasser 22). Even in the early nineteenth century, churches as well as the army sponsored bands utilizing local talents. This provided Puerto Ricans throughout the island with musical training and performance opportunities regardless of their race or class. This is particularly important because "for blacks and mulattos from an impoverished background, music could be a means of upward mobility" (Glasser 31). The training people received provided a source of employment opportunities in the next few years when musicians "began performing in Puerto Rico in cinema orchestras, dance ensembles, on the radio and occasionally on records" (Glasser 29).

During American rule trade between the U.S. and other countries in the region heavily influenced major port cities in Puerto Rico because of Puerto Rico’s geographical position. Puerto Ricans were introduced to Cuban, Colombian, Argentinean, and American musical trends through, "ongoing political and economic as well as artistic connections with other countries" (Glasser 38). Puerto Rican "musical awareness and activity took the form of an ever-evolving collage" (Glasser 28). Some accuse Puerto Ricans musicians of stealing foreign forms of music and calling them their own but the validity of this statement is uncertain to me. Perhaps Puerto Ricans were simple introduced to these different types of music which they then used as examples to create there own.

It is during this period of Puerto Rican history when many new ideas and different forms of music are introduced into Puerto Rican society. The end result was various changes which, ultimately resulted in cultural lines being blurred in music.

The migration by Puerto Ricans musicians into the United States was initiated by economic and political changes resulting from the U.S. invasion of the island. Most musicians moved to the United States in an effort to better their situation, many were under the impression that employment was more accessible there. They would soon learn that this was not always the case.

The large majority of Puerto Ricans who moved to the United States settled in New York City. Despite the diversity of the area Puerto Ricans experienced quite a culture shock. Puerto Rican cultural identity was redefined in the United States due to the racism experienced. For Dark-skinned Puerto Ricans it was particularly difficult because they were not accustomed to the American mentality. In Puerto Rico it was possible to be a Black person in a high social status if they had wealth. However, in America no amount of money would increase a Black person’s status but black musicians were treated with a bit more respect than the average black person was.

When Blacks looked for jobs they often had to look for work in the Jazz industry where they would be accepted. This was very difficult for them to do because they saw "first or secondhand views of the treatment of Black Americans which usually made them less than anxious to accept the crossover thrust upon them and could have a strong affect upon their actions" (Glasser 73). When the Blacks moved to New York they also had to face stereotypes which they did not face back home. For instance, many people thought that Blacks were born with the talent to play music. Often time’s blacks had to pretend that they were illiterate in order to be able to play in bands.

Fair or white skinned Puerto Ricans were now encouraged to use their white skin as an advantage so that they would not be treated as the Blacks.

The reality of the situation in New York for Puerto Rican immigrants was that it was difficult to find jobs in the very competitive music industry. When they were able to finally land a gig they were often paid very little, forcing them to have odd jobs on the side. There was even a pay hierarchy in which musicians would be paid according to the instrument that they preformed, "percussionist receiving less than those playing European brass, woodwind, or string instruments" (Glasser 36).

Songs whose content reflected current political and economic trends always demonstrated the heavy influence by music and musicians on Puerto Rican society. For example, Lamento Borincano by Rafael Hernāndez was written about the discontent with the economic and political status of the island. During this era in Puerto Rican history both on the island and on the mainland most of the music being produced was politically charged.

Puerto Rico’s history has been characterized by complexity, which has been brought about by the heavy influence of other cultures. The migration to New York by many Puerto Ricans brought about racial conflicts that did not originally appear on the island.