By Buboltz, Lisa Ann
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Extra resources for Dance scenes in early archaic Greek vase-painting (PhD)
It begins by discussing repertoire by Louis Moreau Gottschalk, Manuel M. Ponce, Alejandro García Caturla, Aaron Copland, and other classical artists through the mid-twentieth century. It continues with an overview of works by composers of the late twentieth century such as Arturo Márquez, then discusses adaptations of the danzón in Latin jazz compositions (by Chucho Valdés, Emiliano Salvador, Gonzalo Rubalcaba, Arturo Sandoval, and others), protest song repertoire, and rap music. The chapter concludes with a discussion of how the transnational circulation of the danzón has led to its resignification according to changing ideas about heritage.
Racialized Politics and the Media (London: Routledge, 1998), 5; see also Arlene Dávila, Latino Spin. Public Image and the Whitewashing of Race (New York: New York University Press, 2008). DA N Z Ó N M AT T E R S [ 15 ] and much of the twentieth. 41 As helpful as it has been in re-orienting scholarly inquiry, the notion of transnationalism is used indiscriminately at times to refer to processes, relations, and conditions that bear little relation to transborder dynamics. ” While both terms refer to relations beyond the nation-state, the word international most appropriately refers to relations or exchanges between nations; transnational, on the other hand, refer to flows that cut across the national boundaries and render them at least partially irrelevant.
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. The cedazo had been used in contradanzas, often over the final eight-measure repeat of the B section. But by the 1830s, dancers extended the cedazo in many cases to the full length of the music’s repeated B section, and frequently extended the B section itself to sixteen or thirty-two measures, or more.