Timba came of age during Cuba’s 1990s economic crisis and soon traveled farther afield. In New York City today, diverse musicians reproduce, experiment with, and transform its sound with cover songs, new compositions, and reconfigured formats. This article examines three musical examples in ethnographic context, revealing tensions and overlap between local and cosmopolitan music practices, and sheds light on a popular dance culture that serves as the meeting ground for oral traditions and conservatory training. Through grounded and detailed investigation, it highlights blurred boundaries between musical practices, social spaces, and disciplinary approaches and explores their methodological and narrative implications.

The text of this article is only available as a PDF.
You do not currently have access to this content.