By Liliana Ramírez In the Colonial Zone of Santo Domingo city, Casa de la Música has become a hub for the exploration, research, and promotion of the rich musical heritage of the Dominican Republic and the Caribbean. More than just a museum, this space operates as an ecomuseum, where the community plays a leading role and music remains in constant evolution. In conversation with Tommy García (Director) and Ani Arzeno (Head of Museography), Casa de la Música reaffirms its commitment to the country's cultural legacy, ensuring that its history and sounds continue to resonate into the future. Through initiatives such as the digitisation of sound archives, the education of new generations of musicians, and collaborations with international institutions like Berklee College of Music, the center continues to strengthen and expand the reach of Dominican and Caribbean music.
Casa de la Música in Santo Domingo has been defined as an ‘ecomuseum’. Could you tell us a bit about this concept and why this cultural center dedicated to music has been given this designation?
The concept of ‘ecomuseum’ was introduced in 1971 by French museologist Hugues de Varine-Bohan and further developed by Georges-Henri Rivière. Despite traditional museums, which typically focus on displaying collections within a physical space, ecomuseums are dynamic and deeply connected to their environment and community.
In the case of Casa de la Míusica, its designation as an ecomuseum reflects its participation approach and its close relationship with the region’s musical and dance community. Rather than being just a space where visitors come and appreciate, it fosters interaction and active engagement with musicians, dancers, and other cultural actors. Its purpose is to strengthen the musical identity of the region and contribute to the well-being and sustainable development of the community.
In the three years since its founding, what has been the impact of Casa de la Música on the preservation and promotion of Dominican and Caribbean music?
One of our greatest achievements has been the creation of a ‘mediateca’ that collects, digitizes, and restores all the music produced in the country. This effort not only ensures the preservation of the Dominican sound heritage but also facilitates access for researchers, musicians, and the general public.
Additionally, we have gathered and made available all published books and articles on Dominican music, establishing ourselves as an essential resource for study and research in this field.
Beyond preservation, we have become a center for training and research, promoting knowledge and the dissemination of our music through workshops, conferences, and activities that strengthen the country’s musical identity. Our commitment is to continue fostering the development and appreciation of Dominican and Caribbean music, ensuring that both its history and evolution remain alive for future generations.
How does Casa de la Música collaborate with other countries or international institutions to promote Dominican and Caribbean music globally?
Casa de la Música has established relationships with various countries and international institutions to strengthen the global dissemination of Dominican and Caribbean music. Through the exchange of information and documentation, we facilitate access to materials about our music for researchers, musicians, and enthusiasts from different parts of the world, according to their interests and needs. We have actively collaborated with Centro de Investigación y Desarrollo de la Música in Cuba and Departamento de Música Popular del Conservatorio in Puerto Rico, participating in joint research projects and sharing knowledge about our musical traditions. These alliances allow us not only to preserve and study Dominican music within a broader context but also to project it into international stages, reinforcing its recognition and appreciation as a fundamental part of Caribbean musical heritage.
What role does Casa de la Música play in the training of new generations of musicians?
Casa de la Música plays a fundamental role in the training of new generations of local musicians, providing a learning space focused on Dominican popular music genres that, in many cases, are not included in traditional academies.
Our training program is dedicated to the teaching and promotion of native rhythms such as bachata, merengue, pri pri, congos, atabales, and guloyas, ensuring that these genres are preserved and continue to evolve over time.
Through workshops, educational programs, and meetings with experienced musicians, we foster the development of new talent and promote a deeper understanding of our musical identity. In this way, we contribute to the continuity and global projection of Dominican music.
Does the musical identity of the Dominican Republic rely on genres such as bachata and merengue, which are recognized as cultural heritage, or have you decided to focus on more contemporary and urban genres like Dembow, Trap, or Afrobeat?
A fundamental part of our musical identity lies in traditional genres such as merengue and bachata, both recognized as the Intangible Cultural Heritage of Humanity. However, we also acknowledge the significance of contemporary urban expressions that have emerged and evolved spontaneously in the neighborhoods, gaining popularity.
While our mission is to preserve and strengthen traditional genres, we also understand that music is a dynamic phenomenon in constant transformation. For this reason, we aim to document, analyze, and understand the impact of these urban expressions within the Dominican musical ecosystem, recognizing them as part of an evolving sonic legacy and as a means of expression for new generations.
We have read that you plan to develop a brand in collaboration with the Editora Nacional and the Ministry of Culture. What types of publications are you preparing, and how will they be distributed?
We have a long list of books on Dominican music that have been published since the mid-20th century and are now out of print. In this regard, we have a project aimed at rescuing these publications, ensuring they remain accessible to researchers, musicians, and the general public.
Additionally, we will be publishing new research on contemporary Dominican music, including genres like bachata, to continue expanding our knowledge and appreciation of our musical heritage.
In collaboration with the National General Archive, Casa de la Música plans to launch music productions. Could you give us a preview of the type of historical-musical material that will be included and how you plan to reach a broader audience beyond the niche of specialists?
In collaboration with the National General Archive, Casa de la Música has been working on the publication of various music collections aimed at preserving and promoting Dominican sound heritage. To date, we have released three collections, each consisting of three CDs, dedicated to fundamental genres and artists in our musical history. One focuses on Criolla Dominicana, a genre that is nearly extinct; another highlights big band-style merengue orchestras; and the third is dedicated to popular singers from the 1950s.
Our work in this area continues, and we will soon be publishing new collections that visualize other genres and key figures in Dominican music. Among the upcoming releases are compilations dedicated to iconic composers such as Luis Días and Manuel Troncoso, as well as other productions exploring various musical expressions from the country.
The workshop project for training researchers and luthiers, in collaboration with the National Conservatory of Music, is a very important educational initiative. Are these activities aimed at young people without prior training as a social initiative, or are they more focused on musicians with some experience?
To train researchers, participants must be intermediate-level music students, as this field requires prior knowledge to properly analyze, document, and study the sonic heritage in depth. In contrast, the training for instrument builders is open to the general public as part of a social project, providing learning opportunities for anyone interested in this craft.
Through this initiative, we seek not only to preserve artisanal traditions but also to foster the development of new generations of instrument makers and contribute to the cultural and economic growth of the music sector.
Besides this cultural center, which is a must-visit for any visitor or tourist in Santo Domingo, what other places should be part of a musical tour of the city? Is there any initiative to incorporate Casa de la Música into a music route alongside other spaces in Santo Domingo city?
Unfortunately, there is no such initiative at the moment, but we recommend venues such as El Sartén and the Banreservas Cultural Center in the Colonial Zone. We also suggest Grupo Bonyé at the Ruins of San Francisco and Los Carrandales in Manoguayabo.
Could you tell me about the event that Berklee held at Casa de la Música? What did it consist of, and how was it possible to bring this globally recognized educational institution to this space?
The Berklee event at Casa de la Música is part of an agreement between the Ministry of Culture and the renowned Berklee College of Music, which is renewed annually. The main venue for this program is the Conservatorio Nacional de Música, which, starting this year, has begun implementing credit transfers for participants.
Casa de la Música, as part of the Ministry of Culture, is involved in the organizing committee, collaborating in the planning and executing the activities. This initiative represents an invaluable opportunity for Dominican students, as it allows them to access high-level training with professors and experts from Berklee, strengthening the local music ecosystem and creating new opportunities for emerging talents in the country.
For anyone wanting to explore the legacy and history of Dominican music, Could you give me a list of 10 essential artists?
Luis Días, Víctor Víctor, Manuel Troncoso, Manuel Sánchez Acosta, Rafael Solano, Johnny Ventura, Wilfrido Vargas, Luis Segura, Vicente García, Pavel Núñez, among many others.
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