By Juan Flores
Neither immigrants nor ethnics, neither international nor "hyphenated Americans" within the ordinary feel of that time period, Puerto Ricans in manhattan have created a unique id either at the island of Puerto Rico and within the cultural panorama of the USA. Juan Flores considers the distinctiveness of Puerto Rican tradition and id in terms of that of alternative Latino teams within the usa -- in addition to to different minority teams, specially African americans. structure and concrete house, literary traditions, musical types, and cultural hobbies supply a number of the websites and moments of a cultural global outlined through the interaction of continuity and transformation, background and innovation, roots and fusion. Exploring this wide variety of cultural expression -- either within the diaspora and in Puerto Rico -- Flores highlights the wealthy complexities and fertile contradictions of Latino identity.
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Additional info for From Bomba to Hip-Hop: Puerto Rican Culture and Latino Identity
Spidertown An especially poignant, dramatic example of this radical diasporic discontinuity, in fact its dramatization as an existential process, may be found in the writings and personal stance of the young Nuyorican (or perhaps “postNuyorican”) author Abraham Rodriguez. A reading of the title story of his book The Boy Without a Flag (1992) presents in sharp, jarring terms that particular mixed sense of being definitively broken off from, yet demanding inclusion in, the new national reality and trajectory.
28 No matter how the field of cultural practices is reconfigured in line with political and economic changes, popular culture of the vernacular, community-based kind will continue to be present as a mode of social relations, not to be wished away or analyzed out of existence in response to the pervasiveness of media consumption. The need for “roots” is unrelenting, if not intensifying, in our times, and because of the carnivalesque inversion—that “what is socially peripheral is so frequently symbolically central”—the roots of popular culture traditions are strongest among colonized nationalities and racialized communities and peoples.
Never before have the ar- The Lite Colonial 35 ticles of faith of Puerto Rican political and cultural self-understanding been subjected to such radical rethinking, nor has there been such an intricate gradation of intermediate and qualifying perspectives. -style Republicans, feminists and postfeminists, Marxists, neo-Marxists, and post-Marxists, postmodern pessimists and optimists, radical statehooders and old-line nationalists, and countless other positions have been staked out during the present generation, converting the battleground of earlier periods into a veritable free-for-all of divergences and modifications.