Danzón is the official genre and dance of

Cuba Cuba, officially the Republic of Cuba, is an island country, comprising the island of Cuba (largest island), Isla de la Juventud, and List of islands of Cuba, 4,195 islands, islets and cays surrounding the main island. It is located where the ...

.Urfé, Odilio 1965. ''El danzón''. La Habana. It is also an active musical form in USA and

Puerto Rico ; abbreviated PR), officially the Commonwealth of Puerto Rico, is a Government of Puerto Rico, self-governing Caribbean Geography of Puerto Rico, archipelago and island organized as an Territories of the United States, unincorporated territo ...

. Written in time, the danzón is a slow, formal

partner dance file:Tanzturnier 28.JPG, Ballroom dancers performing the tango. file:dance-At-Bougival.jpg, upPartner dance, ''Dance at Bougival'' by Pierre-Auguste Renoir, 1883 Partner dances are dances whose basic choreography involves coordinated dancing of t ...

, requiring set footwork around syncopated beats, and incorporating elegant pauses while the couples stand listening to virtuoso instrumental passages, as characteristically played by a charanga or típica ensemble. The danzón evolved from the Cuban contradanza, or habanera ( '

Havana Havana (; ) is the capital and largest city of Cuba. The heart of La Habana Province, Havana is the country's main port and commercial center.country dance and contredanse, was probably introduced to Cuba by the Spanish, who ruled the island for almost four centuries (1511–1898), contributing many thousands of immigrants. It may also have been partially seeded during the short-lived British occupation of Havana in 1762. Haitian refugees fleeing the island's revolution of 1791–1804 brought the French-Haitian kontradans, contributing their own Creole syncopation.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 In Cuba, the dances of European origin acquired new stylistic features derived from African rhythm and

dance Dance is an The arts, art form, consisting of sequences of body movements with aesthetic and often Symbol, symbolic value, either improvised or purposefully selected. Dance can be categorized and described by its choreography, by its repertoir ...

to produce a genuine fusion of European and African influences. African musical traits in the danzón include complex instrumental

cross-rhythm In music, a cross-beat or cross-rhythm is a specific form of polyrhythm. The term ''cross rhythm '' was introduced in 1934 by the Musicology, musicologist Arthur Morris Jones (1889–1980). It refers to a situation where the rhythmic conflict fou ...

s, expressed in staggered cinquillo and tresillo patterns. By 1879, the year Miguel Failde's ''Las alturas de Simpson'' was first performed (in

Matanzas Matanzas (Cuban ; ) is the capital of the Cuban province of Matanzas Province, Matanzas. Known for its poets, culture, and Afro-American religions, Afro-Cuban folklore, it is located on the northern shore of the island of Cuba, on the Bay of Mat ...

), danzón had emerged as a distinct genre. Danzón went on to interact with 20th century Cuban genres such as son, and through the danzón-mambo it was instrumental in the development of mambo and cha-cha-chá.

History

The danzón developed from the habanera, a creolized Cuban dance form. By 1879, the year ''Las alturas de Simpson'' composed by Miguel Failde (leader of the Orquesta Faílde) was first performed in

, danzón had emerged as a distinct genre. Creation of the new danzón form is generally attributed to Faílde. The classical composer Manuel Saumell has also been cited as a key figure in its delineation.

Precursors: figure dances

The English contradanza was the predecessor of the " habanera", also known as danza criolla. Out of this Creole genre, the Habanera, was born in 1879 another Cuban genre, called danzon, a sequence dance, in which all danced together a set of ''figures''. 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. 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". This style of danzón was performed at carnival comparsas by black groups: it is described that way before the late 1870s. 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."

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. Early danzón was played by groups called '' orquestas típicas'', which were based on wind instruments. They had several brass instruments ( cornet, valve trombone, ophicleide), a

clarinet The clarinet is a Single-reed instrument, single-reed musical instrument in the woodwind family, with a nearly cylindrical bore (wind instruments), bore and a flared bell. Clarinets comprise a Family (musical instruments), family of instrume ...

or two, a violin or two and tympani ( kettle drums). At the beginning of the 20th century, the lighter and somewhat more elegant sound of the '' charanga'' emerged (see Early Cuban bands). Initially, they were small orchestra of two violins, a cello, flute, timbales, güiro, and 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. 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." :"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." 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!" So, behind the concern about music and dance were concerns about sexual licence, and about miscegenation, the mixing of races. As with other similar cases, the criticism was to no avail. The danzón became hugely popular, and was the dominant popular music in Cuba until the advent of the son in the 1920s. At length the Cuban government made Faílde the official inventor of the danzón – ''but not until 1960'', by which time the danzón had become a relic, and its 'child', the chachachá, had taken over.

Influence of son

In 1910, some 30 years after Faílde's early days, José Urfé added a montuno as a final part of his ''El Bombín de Barretto''. This was a swinging section, consisting of a repeated musical phrase, which introduced something of the 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. Romeu Orq

Later development led to more syncopation, which eventually led to the danzón-chá, nuevo ritmo, 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 Latin jazz, salsa, songo and timba, the latter building upon the charanga orchestration. Groups like Los Van Van and Orquesta Revé developed from charangas. Their make-up and orchestration (by Juan Formell) has been so greatly altered that it is difficult to identify traces of danzón; indeed, their present styles owe more to son than to danzón. The addition of brass instruments such as trombones and trumpets, and conga drums signalled a wider range of music.

Mexican Danzón

Danzón was also very popular in the Gulf Coast state of

Veracruz Veracruz, formally Veracruz de Ignacio de la Llave, officially the Free and Sovereign State of Veracruz de Ignacio de la Llave, is one of the 31 states which, along with Mexico City, comprise the 32 Political divisions of Mexico, Federal Entit ...

, Mexico, because of the strong Cuban influence in the region. Later on, danzón developed in

Mexico City Mexico City is the capital city, capital and List of cities in Mexico, largest city of Mexico, as well as the List of North American cities by population, most populous city in North America. It is one of the most important cultural and finan ...

, 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 Oaxaca, officially the Free and Sovereign State of Oaxaca, is one of the 32 states that compose the political divisions of Mexico, Federative Entities of the Mexico, United Mexican States. It is divided into municipalities of Oaxaca, 570 munici ...

, 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

The basic timbales part for danzón is called the baqueteo. In the example above, the slashed noteheads indicate muted drum strokes, and the regular noteheads indicate open strokes. The güiro also plays this pattern. The danzón was the first written music to be based on the organizing principle of sub-Saharan African rhythm, known in Cuba as clave.

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. 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''. Max Salazar
"Orestes Lopez and the mambo"
'' Latin Beat Magazine'', September 2002

Selected recordings

* ''Pensamiento'' – Belisario López * ''Lago Azul'' – Antobal’s Cubans * ''Flor De Yurumi'' – Orquestra Antonio Maria Romeu

References

* Rebeca Mauleón ''The Salsa guidebook for piano and ensemble'' (1993). Petaluma CA: Sher Music. *Peter Manuel, editor. "Creolizing Contradance in the Caribbean" (2009). Philadelphia: Temple University Press. {{DEFAULTSORT:Danzon Cuban styles of music Dance in Cuba Mexican styles of music 19th-century music genres 20th-century music genres Articles containing video clips