By Alejandro L. Madrid
Firstly branching out of the ecu contradance culture, the danzón first emerged as a unique kind of song 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 song and dance complicated, it displays the fusion of ecu and African components 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 experiences the emergence, hemisphere-wide effect, and old and modern importance of this track and dance phenomenon.
Co-authors Alejandro L. Madrid and Robin D. Moore take an ethnomusicological, historic, and significant method of the approaches 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 creation, intake, and transformation of this Afro-diasporic functionality complicated relating to worldwide and native ideological discourses. by way of targeting interactions throughout this complete sector in addition to particular neighborhood scenes, Madrid and Moore underscore the level of cultural flow and trade in the Americas throughout the past due 19th and early twentieth-centuries, and are thereby in a position to research 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 song, dance, and expressive tradition; it truly is crucial analyzing for students, scholars, and enthusiasts of this tune alike.
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Extra info for Danzón: Circum-Caribbean Dialogues in Music and Dance
Boym, The Future, 50. 54. Josh Kun, Audiotopia. Music, Race, and America (Berkeley: University of California Press, 2005), 18 and 23. 55. Theodor W. Adorno, Ästhetische Theorie (Frankfurt: Suhrkam, 1970), 26–27. 56. The meaning of the notion of jouissance is often obscure in Lacan’s own writings. . ” See Néstor A. Braunstein, El goce. Un concepto lacaniano (Buenos Aires: Siglo XXI, 2006 ), 29. DA N Z Ó N M AT T E R S [ 19 ] We suggest that cachondería implies a dancing experience that transcends Adorno’s rational hegemonic model.
Rather, black music at any given time (indeed, virtually any inherited cultural form) incorporates influences from various sources that are creatively combined and re-encoded with local meanings. In the Caribbean and Latin American context such reconfigurations are especially complex, frequently encompassing a diversity of elements from indigenous, Afro-descendant, Western European, North American, and other sources. 30 From the perspective of those studying the arts, an important quality of racial experience is that it bridges the realms of the cultural and the social.
The project pays close attention to how the danzón acquires meaning under specific circumstances but also refuses to concede that such meaning (even at specific moments) is irreparably fixed by historical contingencies. 47 This suggests how reiterations at the core of performative dynamics subvert the presumed linearity and teleology of historical meaning. 48 Nostalgia plays a central role in current danzón revivals in Cuba and Mexico; however, rather than invoking a colonialist nostalgia as in the case of Wenders’s film or “structural nostalgia,” defined by Michael Herzfeld as “the longing of an age before the state,”49 current revivals of the danzón speak to how insiders imagine themselves in relation to past dance and musical practices.
Danzón: Circum-Caribbean Dialogues in Music and Dance by Alejandro L. Madrid