By Alejandro L. Madrid
Before everything branching out of the eu contradance culture, the danzón first emerged as a different type of song and dance between black performers in nineteenth-century Cuba. through the early twentieth-century, it had exploded in attractiveness during the Gulf of Mexico and Caribbean basin. A essentially hybrid track and dance advanced, it displays the fusion of eu and African parts and had a powerful impact at the improvement of later Latin dance traditions in addition to early jazz in New Orleans. Danzón: Circum-Caribbean Dialogues in tune and Dance stories the emergence, hemisphere-wide effect, and historic and modern importance of this track and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, ancient, and demanding method of the procedures of appropriation of the danzón in new contexts, its altering meanings through the years, and its courting to different musical varieties. Delving into its lengthy background of arguable popularization, stylistic improvement, glorification, decay, and rebirth in a continuing transnational discussion among Cuba and Mexico in addition to New Orleans, the authors discover the creation, intake, and transformation of this Afro-diasporic functionality advanced with regards to worldwide and native ideological discourses. via targeting interactions throughout this complete sector in addition to particular neighborhood scenes, Madrid and Moore underscore the level of cultural circulate and alternate in the Americas throughout the overdue 19th and early twentieth-centuries, and are thereby in a position to examine the danzón, the dance scenes it has generated, and a few of the discourses of identity surrounding it as parts in broader nearby procedures. Danzón is an important addition to the literature on Latin American tune, dance, and expressive tradition; it's crucial studying for students, scholars, and lovers of this tune alike.
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Additional info for Danzón: Circum-Caribbean Dialogues in Music and Dance
9. Manuel (Creolizing the Contradance, 67–73) includes an extended discussion of elements that might be considered African-derived in contradanza repertoire. See also pp. 73–77 of Manuel’s essay for analysis of claved rhythms found in surviving piano scores. 10. María Antonia Fernández, Bailes populares cubanos (Havana: Editorial Pueblo y Educación, 1976), 19–54. G E N R E M AT T E R S [ 25 ] little over the past two centuries. Fernández diagrams a number of figures performed over eight-measure segments of the music including the alemanda (allemande), the molino (windmill), the rodeo, the ala (wing), the puente (bridge), and so on, largely derived from European sources.
Ezequiel Rodríguez Domínguez, Iconografía del danzón (Havana: Sub-Dirección Provincial de Música, 14); Galán, Cuba y sus sones, 218. See also related discussion of this topic in Chapter 3. 20. Carpentier, La música en Cuba, 146–47. 21. Ruth “Sunni” Witmer cites discussion on this topic in the Diccionario de la música española e hispanoamericana. See “Cuban Charanga: Class, Popular Music, and the Creation of National Identity,” PhD Dissertation, University of Florida, Gainesville (2011), 95; and also Ricardo de Latorre, Historia de la música militar en España (Madrid: Ministerio de Defensa, 1999), 97.
A Politics of the Performative (London: Routledge, 1997), 24–27. DA N Z Ó N M AT T E R S [ 17 ] that the reasons for this may have less to do with the sophistication of music scholarship than with the questions asked about music. We make no claim to have resolved the problem, yet we engage with music and dance in an attempt to further interdisciplinary discussions about race, gender, class, and historical/transhistorical meaning rather than borrowing from cultural theory in order to better understand musical practices.