By Alejandro L. Madrid

First and foremost branching out of the ecu contradance culture, the danzón first emerged as a different type of track and dance between black performers in nineteenth-century Cuba. via the early twentieth-century, it had exploded in reputation during the Gulf of Mexico and Caribbean basin. A essentially hybrid tune and dance advanced, it displays the fusion of eu and African components and had a powerful impression at the improvement of later Latin dance traditions in addition to early jazz in New Orleans. Danzón: Circum-Caribbean Dialogues in tune and Dance experiences the emergence, hemisphere-wide effect, and old and modern value of this track and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historic, and demanding method of the techniques 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 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 complicated when it comes to international and native ideological discourses. by means of targeting interactions throughout this complete sector in addition to particular neighborhood scenes, Madrid and Moore underscore the level of cultural circulate and trade in the Americas in the course of the past due 19th and early twentieth-centuries, and are thereby in a position to study the danzón, the dance scenes it has generated, and many of the discourses of identity surrounding it as components in broader nearby procedures. Danzón is an important addition to the literature on Latin American tune, dance, and expressive tradition; it truly is crucial interpreting for students, scholars, and lovers of this track alike.

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Extra resources for Danzón: Circum-Caribbean Dialogues in Music and Dance

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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.

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