By Alejandro L. Madrid
At the beginning branching out of the eu contradance culture, the danzón first emerged as a unique kind of track and dance between black performers in nineteenth-century Cuba. through the early twentieth-century, it had exploded in acceptance through the Gulf of Mexico and Caribbean basin. A essentially hybrid tune and dance advanced, it displays the fusion of eu and African parts and had a robust effect at the improvement of later Latin dance traditions in addition to early jazz in New Orleans. Danzón: Circum-Caribbean Dialogues in track and Dance stories the emergence, hemisphere-wide impact, and ancient and modern value of this track and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, ancient, and demanding method of the tactics of appropriation of the danzón in new contexts, its altering meanings over the years, and its dating to different musical kinds. Delving into its lengthy historical past of arguable popularization, stylistic improvement, glorification, decay, and rebirth in a continual transnational discussion among Cuba and Mexico in addition to New Orleans, the authors discover the construction, intake, and transformation of this Afro-diasporic functionality advanced on the subject of worldwide and native ideological discourses. via concentrating on interactions throughout this complete zone in addition to particular neighborhood scenes, Madrid and Moore underscore the level of cultural flow and trade in the Americas in the course of the past due 19th and early twentieth-centuries, and are thereby in a position to learn the danzón, the dance scenes it has generated, and some of the discourses of id surrounding it as parts in broader neighborhood strategies. Danzón is an important addition to the literature on Latin American song, dance, and expressive tradition; it really is crucial studying for students, scholars, and fanatics of this track alike.
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Additional info for Danzón: Circum-Caribbean Dialogues in Music and Dance
42 Such a model requires an understanding of space that privileges mobility, circulation, transition, and impermanence instead of fixity. Thus, space is no longer the place where one is but rather where one becomes; local spaces are created and defined through their networks of identification. 43 This book deals with historical as well as contemporary danzón and danzón-related expressive forms that have traversed the Caribbean basin for over a century. In doing 41. Micol Seigel, “Beyond Compare: Comparative Method after the Transnational Turn,” Radical History Review, no.
Many prominent scholars of non-Western music first gained exposure to such repertoire as the result of colonialist initiatives. Jaap Kunst, for example, worked as a civil servant in Dutch Indonesia before becoming an authority on the gamelan. Helen Roberts began studying Native American music under the auspices of the US government in the wake of the forced relocation of native populations and the seizure of their lands. Gilbert Chase, an early US scholar of Latin American music, was the son of a military officer stationed in Cuba during the first US occupation of that country.
Danzas appear to have first been performed publicly in academias de baile of the 1840s and later decades,13 suggesting that their musical and choreographic innovations derive from the popular classes. In general, danzas were performed at a slower tempo than contradanzas and favored duple meter more consistently. 14 Choreographically, the only significant innovation found in the danza was its greater emphasis on the cedazo, essentially a “swing your partner” move in which couples held each other loosely at the waist as they turned.