Titubanda (Providence, RI)

HonkFest (Somerville, MA)

Titubanda (Providence, RI)

Honk! (Somerville, MA)

Honk! (Somerville, MA)

Response to Comments

Original Challenge Question Response - http://jbengson.blogspot.com/2008/11/challenge-question-response.html
Leen’s Comments - http://leenrhee.blogspot.com/2008/11/response-to-challenge-question_12.html

With regard to your question about how an ethnographic scholar is to circumvent inaccuracy and bias, you propose an intriguing method of surveying the fans of the band and maybe even the band itself. As far as accuracy is concerned, can it really exist without bias? How does one define accuracy? Accuracy seems to be subjective in this case, as say for example, Lamb and Lynx Gaede might view an “accurate” depiction of themselves as one that characterizes their pure, separatist ideologies while ABC’s view of an “accurate” characterization of the girls might be one of racism and white supremacy. In this context, I feel like accuracy and bias work in relative opposition, and this is where I think one has to be careful with the method of surveying the fans or the band. Especially for controversial bands like Prussian Blue, although it may seem like direct access to the band and its fan base may prove to be the purest, most accurate source of information, one must consider the alternative viewpoints and the social implications of utilizing information from the primary source. In this context, a primary source may not be as useful as multiple sources. That is to say quantity over quality. Thus, the polyphonic ethnography approach is one way of not only minimizing ethical repercussions relating to racially charged images, but it is also useful for minimizing bias, since the images are perceived from several viewpoints, not from one source of media. You are absolutely right that the media’s influence is not always degrading or controversial, as Prussian Blue is merely an extreme case where the media may have a more influential role due to the increased sensitivity of the issues brought out by the girls’ beliefs.

Critical Review #10

Robert Neustadt’s compares and contrasts two of Cuba’s most famous music groups, Buena Vista Social Club and La Charanga Habanera, and considers the two very different perspectives both groups produce regarding Cuban identity. Buena Vista Social Club, comprised mainly of older musicians that have been held back from international audiences thanks to political and social implications surrounding Cuba, have made a name for themselves by playing relatively simple, yet traditional Cuban songs. Ironically, their newfound popularity around the world had not translated to similar fame and success within their own country. Those within Cuba saw Buena Vista Social Club as having lost their novel appeal, and instead tended to favor the younger, more progressive Charanga Habanera, whose markedly distinct style of electric music, called timba, seemed to serve as a better representation of present Cuban culture. Neustadt also addresses more subtle differences between the BVSC and La Charanga Habanera, namely both groups’ song lyrics and the album artwork of both groups’ CDs. He claims that sexual innuendo runs rampant in both groups’ song lyrics, with the difference lying in the salience of the sexual references in La Charanga Habanera’s lyrics. According to Neustadt, each group’s album art also reflected each group’s identity and roots in that La Charanga Habanera’s Tremendo delirio portrays a more contemporary, progressive image while BVSC’s album portrays Cuba as a country stagnant and held back, much like the Buena Vista Social Club was prior to the Cuban Revolution.

Discussion Question: Is it possible to consider a broader definition of authenticity, one that can be applied to both Buena Vista Social Club and La Charanga Habanera and possibly attempt to resolve differing beliefs with regard to identity formation and political representation in Cuba?