By Alejandro L. Madrid
At first branching out of the eu contradance culture, the danzón first emerged as a special type of song and dance between black performers in nineteenth-century Cuba. through the early twentieth-century, it had exploded in reputation through 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 robust 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 reports the emergence, hemisphere-wide impression, and ancient and modern importance of this track and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historic, and demanding method of the strategies of appropriation of the danzón in new contexts, its altering meanings over the years, and its dating to different musical types. 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 creation, intake, and transformation of this Afro-diasporic functionality complicated on the subject of worldwide and native ideological discourses. by way of targeting interactions throughout this whole zone in addition to particular neighborhood scenes, Madrid and Moore underscore the level of cultural move and alternate in the Americas throughout 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 identity surrounding it as parts in broader local methods. Danzón is an important addition to the literature on Latin American track, dance, and expressive tradition; it really is crucial analyzing for students, scholars, and lovers of this track alike.
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Extra resources for Danzón: Circum-Caribbean Dialogues in Music and Dance
Example text
Racial projects influencing the circulation or reception of the danzón include the “racially blind” propaganda espoused by José Martí and other Cuban revolutionaries in the 1890s as well as the rhetoric of mestizaje based on a European-indigenous dichotomy proposed by José Vasconcelos and embraced by the Mexican government in the 1920s, as discussed in Chapter 3. 25. Michael Omi and Howard Winant, Racial Formation in the United States: From the 1960s to the 1990s, 2nd edition (New York: Routledge, 1994), 54–56.
30. Guthrie P. Ramsey, Race Music. Black Cultures from Bebop to Hip-Hop (Berkeley: University of California Press, 2003), 37–38. 31. Howard Winant, “White Racial Projects,” in The Making and Unmaking of Whiteness, ed. Brander Rasmussen et al. (Durham, NC: Duke University Press, 2001), 101. 32. Ronald Radano and Philip V. Bohlman, “Introduction,” in Music and the Racial Imagination, ed. Ronald Radano and Philip V. Bohlman (Chicago: University of Chicago Press, 2000), 37. 36 We assume that racialized music, as part of larger formations and projects, derives its meaning (whether originating in particular black communities themselves or in segments of dominant society) within distinct historical moments.
Its narratives become meaningful as uttered, played, and danced in localized articulations that establish dialogues throughout the region. NOSTALGIA AND CACHONDERÍA : AFFECT AND TRANSHISTORICAL MEANING IN DANZÓN EXPERIENCES Throughout its history, music scholarship (both musicology and ethnomusicology) has largely failed to achieve broad relevance for the humanities and social sciences. Despite the paramount contributions of a few individuals, the field has yet to produce an intellectual whose work is referenced across disciplines—someone who, by studying music, allows others to see their own work in a different way.