Danzón

Source: Wikipedia, the free encyclopedia.

Danzón is the official musical genre and dance of Cuba.[1] It is also an active musical form in Mexico and Puerto Rico. Written in

syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a charanga or típica ensemble.[2]

The danzón evolved from the Cuban

cross-rhythms, expressed in staggered cinquillo and tresillo patterns.[2]

By 1879, the year

cha-cha-chá
.

History

Monterrey Institute of Technology and Higher Education, Mexico City

The danzón developed from the

Miguel Failde (leader of the Orquesta Faílde) was first performed in Matanzas,[2] danzón had emerged as a distinct genre.[4] Creation of the new danzón form is generally attributed to Faílde.[6] The classical composer Manuel Saumell has also been cited as a key figure in its delineation.[7]

Precursors: figure dances

The English

Habanera, was born in 1879 another Cuban genre, called danzon, a sequence dance, in which all danced together a set of figures.[8]
The first use of the term danzón, which dates from the 1850s, is for just such a dance. Havana's daily paper, El Triunfo, gave a description of this earlier danzón. It was a co-ordinated dance of figures performed by groups of Matanzas blacks. The dancers held the ends of colored ribbons, and carried flower-covered arches. The group twisted and entwined the ribbons to make pleasing patterns.[9][10] This account can be corroborated by other references, for example, a traveler in Cuba noted in 1854 that black Cubans "do a kind of wreath dance, in which the whole company took part, amid innumerable artistic entanglements and disentanglements".[11] This style of danzón was performed at carnival comparsas by black groups: it is described that way before the late 1870s.[12]

Faílde's first danzóns were created for just such sequence dances. Faílde himself said "In Matanzas at this time there was a kind of square dance for twenty couples who carried arches and flowers. It was really a dance of figures (sequence dance), and its moves were adapted to the tempo of the habanera, which we took over for the danzón."[13]

Structure and instruments

The form of danzón created by Miguel Faílde in 1879 (Las alturas de Simpson), begins with an introduction (four bars) and paseo (four bars), which are repeated and followed by a 16-bar melody. The introduction and paseo again repeat before a second melody is played. The dancers do not dance during these sections: they choose partners, stroll onto the dance floor, and begin to dance at precisely the same moment: the fourth beat of bar four of the paseo, which has a distinctive percussion pattern that's hard to miss. When the introduction is repeated the dancers stop, chat, flirt, greet their friends, and start again, right on time as the paseo finishes.

Orquesta Enrique Peña
Peña seated left, Barreto (violin) and Urfé (clarinet)

Early danzón was played by groups called

doublebass
. Charanga and típicas competed with each other for years, but after 1930 it was clear that the days of the típica were over.

In 1898, a piano was included in a charanga for the first time. In Antonio María Romeu's hands a piano became standard. Its musical flexibility, its ability to influence both melody and rhythm, made it invaluable. In 1926, in his arrangement of Tres lindas cubanas, Romeu incorporated a piano solo for the first time. His was Cuba's top charanga for many years.

Initial perception

Similar to other dances in the Caribbean and Latin America, the danzón was initially regarded as scandalous, especially when it began to be danced by all classes of society. The slower rhythm of the danzón led to couples dancing closer, with sinuous movements of the hips and a lower centre of gravity. The author of a survey of prostitution in Havana devoted a whole chapter to the iniquities of dancing, and the danzón in particular.[14] Articles in newspapers and periodicals took up the theme:

"Because I love my country, it hurts me to see danzón at gatherings of decent people."[15]
"We recommend banning the danza and danzón because they are vestiges of Africa and should be replaced by essentially European dances such as the quadrille and rigadoon."[16]

Apparently, the danzón, which later became an insipid dance for older couples, was at first danced with "obscene movements" of the hips by young couples in close embrace, with bodies touching, and by couples who might come from different races...

"First we had the danza, then came the danzón... next it will be the rumba, and finally we'll all end up dancing ñáñigo!"[17]

So, behind the concern about music and dance were concerns about sexual licence, and about

chachachá, had taken over.[18]

Influence of son

In 1910, some 30 years after Faílde's early days,

son into the danzón (a tactic which was to recur again). Because of the popularity of son in the 1920s and 1930s, Aniceto Díaz
in Rompiendo la rutina in 1929 added a vocal part, thereby creating a new genre called the danzonete.

Orquesta Romeu
with singer Fernando Collazo, end-1920s

Later development led to more

cha-cha-chá, pachanga and mambo. From the 1940s to the 1960s danzón and its derivatives were highly popular in Cuba, with several truly fine charangas playing most days of the week. Orquesta Aragón
kept up an exceptionally high standard for many years, but the danzón itself gradually dropped out, and is now a relic dance.

Danzón has never ceased to influence Cuban musicians, and it is reflected in many popular Cuban music genres, in Cuban

conga drums
signalled a wider range of music.

Mexican Danzón

Guanajuato City
, Mexico.

Danzón was also very popular in the Gulf Coast state of Veracruz, Mexico, because of the strong Cuban influence in the region. Later on, danzón developed in Mexico City, specially in the famous Salón México; it has survived as a dance longer there than in Cuba. Danzón also flourished in the city of Oaxaca, and many famous danzones were composed by Oaxacan musicians such as the famous Nereidas and Teléfono de larga distancia, both works of Amador Pérez Dimas, from the town of Zaachila, near Oaxaca city.

Today, people still dance danzón in Mexico, particularly in the main plazas of Veracruz, Oaxaca and Mexico City, and in yearly festivals across Mexico. The dance had a second revival in the 1990s, especially among Mexico's senior citizens.

A film called Danzón was released in 1991 directed by María Novaro.

Concert music

Danzón no. 2 by Mexican composer Arturo Márquez
(b. 1950) is a popular piece in orchestral concerts.

Rhythmic structure

Basic baqueteo timbales part. Play

The basic

clave.[19]

Style and form structure

Danzón is elegant and virtuoso music, with dance. A danzón, in its original form, was not sung, and did not feature any improvisations, unlike some other Cuban genres. A danzón has the following typical structure:

  • An introduction or paseo (A), usually 16 bars.
  • The theme or principal melody (B), featuring the flute, thus often referred to as parte de (la) flauta.
  • A repeat of the introduction.
  • The trio (C), featuring the strings, thus also called parte del violín.
  • Ending. This could either be a cliché ending (there are a few standard danzón endings), another repeat of the introduction, or a combination of both.

The classic form is thus ABAC or ABACA. A danzón-chá or danzón-mambo typically add another part (D), a syncopated open vamp in which soloists may sometimes improvise, creating an ABACD or, more common, ABACAD.

Mambo section

In danzón, the mambo section is the final section of an arrangement. It was first devised by Orestes López, who added syncopated motifs taken from the son, together with improvised flute variations.[20] He called this type of danzón ritmo nuevo (new rhythm). Orestes' danzón Mambo was the start of a trend continued by Arcaño y sus Maravillas.[21]

See also

References

  1. ^ a b Urfé, Odilio 1965. El danzón. La Habana.
  2. ^
    Grove Music Online
    . Oxford Music Online. Retrieved 22 October 2015.(subscription required)
  3. ^ Manuel, Peter, editor, 2009. "Creolizing Contradance in the Caribbean." Philadelphia: Temple University Press; see also Carpentier, Alejo. 2001. Music in Cuba. Minneapolis, University of Minnesota Press. p146
  4. ^ a b "History of Cuban Music". Archived from the original on 1 February 2014. Retrieved 19 January 2014.
  5. ^ Chasteen, John Charles 2004. National rhythms, African roots: the deep history of Latin American popular dance. Albuquerque, N.M. Chapter 5.
  6. ^ Failde, Osvalde Castillo 1964. Miguel Faílde: créador musical del Danzón. Consejo Nacional de Cultura, La Habana. In 1998, the province Matanzas held a festival to commemorate the 100th anniversary of Danzón.
  7. ^ Carpentier, Alejo 2001 [1945]. Music in Cuba. Minneapolis MN. p191
  8. ^ A set group of dance steps that makes up a recognized, named movement.
  9. ^ 'El danzón', article in El Triunfo, 25 July 1882.
  10. ^ Chasteen, John Charles 2004. National rhythms, African roots, pp. 75–76.
  11. ^ Bremer, Fredrika 1853. The homes of the New World: impressions of America. Harper, N.Y. vol 2, p308.
  12. ^ La Aurora del Yumurí, two articles: 'Danzón' (24.11.1871) and 'Magnifica comparsa' (2.12.1871)
  13. ^ Failde, Osvalde Castillo 1964. Miguel Faílde: créador musical del Danzón. p85 [rough transl. by contributor]
  14. ^ De Cespedes, Benjamin 1888. La prostitución en La Habana.
  15. ^ 'El danzón' articles in La Voz de Cuba (8.10.1879) and (20.11.1879); transl. from Chasteen p77.
  16. ^ 'Sobre bailes' in 'La Habana elegante' (19.8.1888); transl. from Chasteen p80
  17. ^ 'El porvenir del baile en Cuba' in El Almendares (a Havana women's magazine) (7.9.1881); trans from Chasteen p81
  18. ^ Failde, Osvalde Castillo 1964. Miguel Faílde: créador musical del Danzón. La Habana. Here the official document is reprinted in full: El danzón, baile nacional de Cuba.
  19. .
  20. ^ Orovio, Helio 2004. Cuban music from A to Z.
  21. ^ Max Salazar, "Orestes Lopez and the mambo", Latin Beat Magazine, September 2002