Danzón Currents in Latin American and Iberian Music Walter Clark, Series Editor Nor-tec Rifa! Electronic Dance Music from Tijuana to the World Alejandro L. Madrid From Serra to Sancho: Music and Pageantry in the California Missions Craig H. Russell Colonial Counterpoint: Music in Early Modern Manila D. R. M. Irving Embodying Mexico: Tourism, Nationalism, & Performance Ruth Hellier-Tinoco Silent Music: Medieval Song and the Construction of History in Eighteenth-Century Spain Susan Boynton Whose Spain? Negotiating “Spanish Music” in Paris, 1908–1929 Samuel Llano Federico Moreno Torroba: A Musical Life in Th ree Acts Walter Aaron Clark and William Craig Krause Agustín Lara A Cultural Biography Andrew G. Wood Danzón Circum-Caribbean Dialogues in Music and Dance Alejandro L. Madrid and Robin D. Moore Danzón Circum-Caribbean Dialogues in Music and Dance Alejandro L. Madrid and Robin D. Moore 1 Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford New York Auckland Cape Town Dar es Salaam Hong Kong Karachi Kuala Lumpur Madrid Melbourne Mexico City Nairobi New Delhi Shanghai Taipei Toronto With offi ces in Argentina Austria Brazil Chile Czech Republic France Greece Guatemala Hungary Italy Japan Poland Portugal Singapore South Korea Switzerland Th ailand Turkey Ukraine Vietnam Oxford is a registered trade mark of Oxford University Press in the UK and certain other countries. Published in the United States of America by Oxford University Press 198 Madison Avenue, New York, NY 10016 © Oxford University Press 2013 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by license, or under terms agreed with the appropriate reproduction rights organization. Inquiries concerning reproduction outside the scope of the above should be sent to the Rights Department, Oxford University Press, at the address above. You must not circulate this work in any other form and you must impose this same condition on any acquirer. Library of Congress Cataloging-in-Publication Data Madrid, Alejandro L. Danzón: circum-Caribbean dialogues in music and dance / Alejandro L. Madrid and Robin D. Moore. pages ; cm Includes bibliographical references and index. ISBN 978-0-19-996580-9 (hardback : alk. paper)—ISBN 978-0-19-996582-3 (pbk. : alk. paper) 1. Danzones (Music)—History and criticism. I. Moore, Robin D. II. Title. ML3400.M33 2013 781.64—dc23 2013006423 9 8 7 6 5 4 3 2 1 Printed in the United States of America on acid-free paper To Ginnie Moore, words can’t describe my sense of loss, no one ever had a better mother. And to Lorraine Leu, my constant companion, my m edia naranja , my love, who inspires and supports me in so many ways. Th ank you for coming all the way from Bristol to make my life complete. And thank you for our daughter Eva; what a joy to share that experience together. —Robin To my parents, Alejandro and Ana Bertha for their unconditional love and support. Th is one is especially dedicated to my dad for inadvertently instilling in me a deep love for Cuban music and culture. And to Ekaterina, my wonderful and encouraging partner, for bearing with my crazy writing habits with a beautiful smile on her face, timely words of advice, and unfl agging love. —Alejandro La memoria no hace nada por sí sola. Sólo es fértil cuando el olvido la reverdece. El olvido que recuerda a la memoria es la nostalgia. La nostalgia no hace nada por sí sola. Sólo el olvido. Memory does not do anything by itself. It is only fertile when forgetting revives it. Nostalgia is the forgetting that triggers memory. Nostalgia does not do anything by itself. Only forgetting. Jaime Moreno Villarreal, Fracciones CONTENTS List of Figures ix List of Music Examples xi Acknowledgments x iii About the Companion Website xvii 1. Danzón Matters: Mapping Out the Issues 3 2. Danzón as a Performance Complex 22 3. Race, Morality, and the Circulation of Danzón, 1870–1940 7 5 4. Th e Danzón and Musical Dialogues with Early Jazz 1 17 5. Nostalgia, Aff ect, and Performativity in Contemporary Danzón Scenes 150 6. Cachondería , Discipline, and Danzón Dancing 1 89 7. Danzón Musings beyond the Dancehall 2 15 Bibliography 251 Index 271 This page intentionally left blank LIST OF FIGURES 2 .1 Old-style metal timbales and güiro, used by the Piquete Típico in Havana 3 0 2 .2 Turn-of-the-twentieth-century postcard from Cuba entitled “Th e Bunga,” featuring an early version of the modern timbales/paila made of banded wood 30 2.3 Raimundo and Pablo Valenzuela 4 3–44 2.4 Antonio “Papaíto” Torroella and his orchestra 52 2.5 Antonio Romeu and his orchestra, including singer Barbarito Diez 5 4 2.6 Acerina y su Danzonera, still from the fi lm Este amor sí es amor (1962) 56 2.7 Paulina Álvarez, “Th e Empress of Danzonete” and Everardo Ordaz, pianist and director of her orchestra 6 4 2.8 Arcaño y sus Maravillas, ca. 1940 6 5 3.1 Orquesta Faílde 8 2 3.2 Cover of the Mérida music periodical J. Jacinto Cuevas 91 3.3 Tiburcio “Babuco” Hernández 9 5 3.4 Tomás Ponce Reyes 9 6 3.5 Stage and dance fl oor of Salón Colonia, Mexico City 107 3.6 Orquesta Concha, late 1920s 1 09 3 .7 Scene from E n cada puerto un amor (1949), featuring Cuban rumbera Amalia Aguilar and black musicians 1 13 3.8 Danzón dance scene from Salón México (1949) 114 4.1 Emanuel Emile Perez (on cornet, back right) and his Imperial Band from 1908 125 4.2 Representative danzones composed in New Orleans of the 1880s and apparently performed by the Mexican Eighth Cavalry Band 128–129 4.3 Raimundo Valenzuela, “La Patti negra” (ca. 1905). Formal structure 1 35 4.4 Antonio María Romeu, performing here in a danzón ensemble with added saxophones and drum set, infl uenced by the vogue of US jazz music, 1920s 144 5.1 Cuban dancers from the Círculo Amigos del Danzón at Madruga’s Complejo Recreativo, 2009 1 51