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By Peter Manuel

The contradance and the quadrille, of their different varieties, have been the preferred and critical genres of creole Caribbean song and dance within the 19th century. through the sector, they have been websites of interplay for musicians and musical components of alternative racial, social, and ethnic origins, and so they turned crucibles for the evolution of genres just like the Cuban danzon and son, the Dominican merengue, and the Haitian mereng. Creolizing Contradance within the Caribbean, the 1st ebook to discover this phenomenon intimately and with a pan-regional viewpoint, contains chapters at the Spanish-, French-, and English-speaking Caribbean. each one covers the musical and choreographic positive factors, social dynamics, ancient improvement, and value of the genres and discusses them in terms of the wider Caribbean old context.

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Extra info for Creolizing Contradance in the Caribbean (Studies In Latin America & Car)

Sample text

Regiments brought from one island to another exchanged musical materials with the populations of the areas they were posted in. Oral traditions also attribute several genres to specific military occasions, including the Haitian and Dominican carabinier/carabiné (supposedly first danced by carbine-wielding Haitian soldiers invading Santo Domingo in 1805), or the merengue (allegedly first created as a song mocking a cowardly Dominican general after an 1844 battle against the Haitians). Military bands also provided much of the instruments, the musical training, and the orchestration models for smaller dance bands in the nineteenth century.

With political independence, throughout the French and English Caribbean quadrille can also be celebrated as part of local traditional culture, performed by folkloric groups on various occasions and receiving some promotion via state-run competitions.

And while one mulatto clarinetist might take pride in socially distancing himself from the neo-African ways of the bozal (the fresh-off-theboat slave), another might move easily and often between the two milieus. For their part, mulatto dancers—including the more or less public women at the bailes de cuna—might well dance in and help popularize a sensual style distinguished by the pendular hip movements so typical of much African dancing. Creolization may in some contexts occur from the more or less natural collaboration of two communities that interact on neutral territory while remaining familiar with their own ancestral cultures.

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