The fifth chapter details two hybridizing practices within contemporary rumba performance, one that emerged from Matanzas (batarumba) and one from Havana (guarapachangueo). The chapter employs Stuart Hall’s concept of situated hybridity in order to argue that these innovations are informed by the histories and discourses of place attached to these two respective locales. In discussing these innovations, the chapter draws on oral histories conducted with musicians and in-depth musical analyses of both practices. Finally, these innovations are discussed as illustrative of the different approaches towards rumba-based fusion in the two cities in general, and thus of how musicians “perform” local identity.
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