by Leighton Smith

Created on: July 16, 2009

The Cuban music sampled in Buena Vista Social Club derives from a variety of sources. The rhythms are decidedly Caribbean, drawing much from African influence imported by the Atlantic slave trade. Many of the instruments used in this genre, though, are more traditional, which indicates that many Cuban musicians fused other genres into their music. Indeed, several of the artists presented in the film said that they had classical training for their respective instruments. Ruben Gonzalez, for example, took piano lessons from first through eighth grade. Whereas in many Caribbean music cultures we see unique instruments such as the steel drum, Cuban music uses common Western instruments like the bass, guitar, and trumpet.

Guitarist Ry Cooder played a critical role in the Buena Vista Social Club project. Many of the Cuban musicians in the film had long since stopped playing, and obviously had no plans for starting back up. Cooder deserves credit for bringing these musicians together and exposing the world to the living legends of Cuban music; but as with Paul Simon and the Graceland album, he could have done some things differently. (In both cases, some critics feel the American artists - Cooder and Simon - exploited native musicians for personal gain.) It seems feasible that Cooder could have had just as great an impact in giving Cuban music exposure had he not played such an active role in the music itself. Cooder is apparently quite passionate about this kind of music, but does this give him license to include himself in the recordings? I submit that it does not, especially considering that his musical background is not rooted in the son tradition. Moreover, I found the superfluous addition of his son on percussion a bit out of place. Cooder could just have easily used a trained Cuban to fill that role.

The state of the Cuban musicians when Cooder found them was startling. Many were living in poverty and occupying menial jobs. They had seemingly been forgotten by their country, having long since fallen from the ranks of Cuba's musical elite. This decline in popularity is a common trend in the music world. Artists come and go as populations' musical tastes change. In many cases, a flash in the pan artist might have to enter into another line of work once his appeal dwindles, and in extreme cases an artist might be thrust into destitution. In economically-unsound Cuba, I believe it would be difficult for the musicians to retain much wealth after their music careers began to end, and thus we found the old-time legends in abject poverty.

Buena Vista Social Club also communicates something about the relationship between music and politics. To me, the message is clear: our governments may be at odds with one another, but these differences can be bypassed for the sake of music. While some of the musicians were reluctant initially, they did agree to take part in the project. We can also see that the musicians exhibit no animosity towards each other's country, especially when the Cubans visit New York City. Instead of badmouthing the hallmarks of American capitalism that can be found throughout the city, they are in awe of them. Filmmaker Win Wenders deserves credit for his tactful approach to making Buena Vista Social Club. By putting the focus of the documentary on the music and its creators, in addition to their surroundings, he sidesteps several obvious issues concerning Cuba-United States relations. He thus indirectly makes a statement, that music is a phenomenon that unites us all, and allows us to make our own judgments about the politics involved.

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