Danzón: Circum-Caribbean Dialogues in Music and Dance by Alejandro L. Madrid

By Alejandro L. Madrid

At first branching out of the eu contradance culture, the danzón first emerged as a special type of tune and dance between black performers in nineteenth-century Cuba. by means of the early twentieth-century, it had exploded in acceptance during the Gulf of Mexico and Caribbean basin. A essentially hybrid track and dance complicated, 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 impression, and historic and modern importance of this tune and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, ancient, and important method of the procedures 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 heritage 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 construction, intake, and transformation of this Afro-diasporic functionality advanced relating to worldwide and native ideological discourses. by way of targeting interactions throughout this complete quarter in addition to particular neighborhood scenes, Madrid and Moore underscore the level of cultural stream and trade in the Americas in the course of the past due 19th and early twentieth-centuries, and are thereby capable of examine the danzón, the dance scenes it has generated, and many of the discourses of id surrounding it as parts in broader nearby approaches. Danzón is an important addition to the literature on Latin American tune, dance, and expressive tradition; it truly is crucial analyzing for students, scholars, and lovers of this song alike.

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

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Chapter 4 engages with literature on early jazz, focusing on the danzón’s presence in the city of New Orleans and highlighting stylistic linkages between orquesta típica-style danzón and turn-of-the-century US repertoire. ” The chapter begins by discussing demographic and other ties between Mexico, the Caribbean, and Louisiana, and the circulation of danzón repertoire performed in the New Orleans area. It proceeds to analyze early recordings of danzón performance in order to document the pervasiveness of improvisational practices in the repertoire.

Manuel, Creolizing the Contradance, 43. 8. This topic is well represented in existing literature. See, for instance, Alejo Carpentier, La música en Cuba (Mexico City: Fondo de Cultura Económica, 2004 [1946]), 136–52; Pedro Deschamps Chapeaux, El negro en la economía habanera del siglo xix (Havana: UNEAC, 1971). 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.

Recent scholarship in cultural studies and rhetoric has advanced similar models as ways to appreciate not only the dissemination or regulation of cultural manifestations but also the performativity of narrative in relation to time and identity. 45 This book explores the movement of expressive culture as observed in the ways the danzón has shaped gender, ethnic, class, and racial representations. Its narratives become meaningful as uttered, played, and danced in localized articulations that establish dialogues throughout the region.

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