Danzón: Circum-Caribbean Dialogues in Music and DanceOUP USA, 2013 - 279 páginas Initially branching out of the European contradance tradition, the danzón first emerged as a distinct form of music and dance among black performers in nineteenth-century Cuba. By the early twentieth-century, it had exploded in popularity throughout the Gulf of Mexico and Caribbean basin. A fundamentally hybrid music and dance complex, it reflects the fusion of European and African elements and had a strong influence on the development of later Latin dance traditions as well as early jazz in New Orleans. Danzón: Circum-Caribbean Dialogues in Music and Dance studies the emergence, hemisphere-wide influence, and historical and contemporary significance of this music and dance phenomenon. Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historical, and critical approach to the processes of appropriation of the danzón in new contexts, its changing meanings over time, and its relationship to other musical forms. Delving into its long history of controversial popularization, stylistic development, glorification, decay, and rebirth in a continuous transnational dialogue between Cuba and Mexico as well as New Orleans, the authors explore the production, consumption, and transformation of this Afro-diasporic performance complex in relation to global and local ideological discourses. By focusing on interactions across this entire region as well as specific local scenes, Madrid and Moore underscore the extent of cultural movement and exchange within the Americas during the late nineteenth and early twentieth-centuries, and are thereby able to analyze the danzón, the dance scenes it has generated, and the various discourses of identification surrounding it as elements in broader regional processes. Danzón is a significant addition to the literature on Latin American music, dance, and expressive culture; it is essential reading for scholars, students, and fans of this music alike. |
Contenido
Mapping Out the Issues | 3 |
2 Danzón as a Performance Complex | 22 |
3 Race Morality and the Circulation of Danzón 18701940 | 75 |
4 The Danzón and Musical Dialogues with Early Jazz | 117 |
5 Nostalgia Affect and Performativity in Contemporary Danzón Scenes | 150 |
6 Cachondería Discipline and Danzón Dancing | 189 |
7 Danzón Musings beyond the Dancehall | 215 |
251 | |
271 | |
Otras ediciones - Ver todas
Danzón: Circum-Caribbean Dialogues in Music and Dance Alejandro L. Madrid,Robin D. Moore Vista previa limitada - 2013 |
Danzón: Circum-Carribean Dialogues in Music and Dance Alejandro L. Madrid,Robin D. Moore Sin vista previa disponible - 2014 |
Términos y frases comunes
African Afro-Cuban Alejandro Alejandro García Caturla Amigos del Danzón Antonio Arcaño Argeliers León artists associated baile bands blackface cachondería Caribbean Castillo Faílde chá cha cha charanga choreography cinquillo City’s clarinet clave composers compositions contradanza cornet Cristóbal Díaz Ayala Cuba Cuban Danzón Cuban music cultural dancers danza danzón dancing danzón performance danzón-chá Danzonera Diccionario discourses discussed early jazz ensemble featuring Fernández festival film Flores y Escalante flute Galán García genre González groups guaracha güiro habanera Havana heritage improvisation influenced instruments Jesús José Latin American León mambo Manuel María Matanzas melody Mérida Mexican Mexican danzón Mexico City Miguel Faílde montuno música cubana musicians negro bueno orchestra Orleans orquesta típica pachuco Patti negra personal interview piano piece played popular music racial Raimundo Valenzuela recordings repertoire rhythm rhythmic ritmo Rodríguez Romeu Salón México Sánchez segments social solo style theme timbales tion traditional Valdés Veracruz violin wellas zón