Danzón Matters

Madrid, Alejandro L.; Moore, Robin

doi:10.1093/acprof:oso/9780199965809.003.0001

Cited by 3 publications

(6 citation statements)

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“…Alejandro L. Madrid and Robin Moore describe the effect upon the alternate pattern as 'claved', and I use this term throughout the analysis. 71 In addition to the clave, I will pay particular attention to the interaction between different rhythmic riffs or cells, including the interplay between the cascara and different campana patterns, as well as the interactions between bass and piano tumbaos, which are key elements of the timba aesthetic. 72…”

Section: Selecting Collecting and Representing Ethnographic Datamentioning

confidence: 99%

The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana

Bøhler¹

2021

Twentieth-Century Music

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Drawing upon Rancière's argument that aesthetics instigates politics, Latour's rethinking of agency as relational, and Ortiz's work on Afro-Cuban music aesthetics, this article explores how the experience of aesthetic pleasure in Cuban timba grooves makes politics audible and affective in novel ways. Through a combination of ethnographic and musical analyses of Havana D'Primera's performance of ‘Pasaporte’ live at Casa de la Música in 2010, it unpacks the political affordances of call-and-response singing and polyrhythmic timba grooves among participating listeners in Havana. In contrast to the recurrent tendency to exclude musical details from research into the politics of music, this article suggests that engaging grooves and catchy melodies do important political work as musical actants by creating affective communities and new expressions of political critique. The concept of musical actants serves as a lens through which to view these pregnant interactions between rhythmic, melodic, social, and political meanings in time.

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Section: Selecting Collecting and Representing Ethnographic Datamentioning

confidence: 99%

The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana

Bøhler¹

2021

Twentieth-Century Music

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“…Ebbs and flows within competing 'networks of identification' 67 have placed the danzón in constant dialogue with a variety of cultural and social practices; these have loosened the genre from fixity, and, over time, fundamentally transformed its meaning and form. 68 More importantly, the danzón's existence as a dynamic 'performance complex' (as it has been called) has enabled its participants to meet themselves and each other within 'sonic spaces of effective utopian longing'. 69 There, against the grain of identitarian shackles placed upon them by forces beyond their control, they have been able to validate their own 'sentient experience' and 'reconstitute themselves'.…”

Section: Genrementioning

confidence: 99%

“…68 More importantly, the danzón's existence as a dynamic 'performance complex' (as it has been called) has enabled its participants to meet themselves and each other within 'sonic spaces of effective utopian longing'. 69 There, against the grain of identitarian shackles placed upon them by forces beyond their control, they have been able to validate their own 'sentient experience' and 'reconstitute themselves'. 70 But let us be clear.…”

Section: Genrementioning

confidence: 99%

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Against Populism: Music, Classification, Genre

Ballantine¹

2020

Twentieth-Century Music

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Often described as a social pathology, populism currently finds virulent expression in political movements across the world. Unlike the recognition that involves mutuality and respect, populism is typically founded on misrecognition; it pursues alterity, essentializes identity, offers ‘protection’ against the threat of hostile ‘others’. Often the social consequences are tragic. Music, however, can confirm or disrupt the way populism constructs identity. Epistemologically, genres can enable us to both understand and misunderstand our world: we can recognize ourselves (‘us’) in the genres that undergird the music we identify with, and (mis)recognize others (‘them’) in those we find alien. But genres can be undermined; they can be integrated, hybridized and directed towards more inclusive or cosmopolitan ends, thus destablilizing ontologies frozen around pre-fixed identities. I elaborate this theory, illustrating it with examples of focused genre-transgression, particularly in South African jazz, where progressive social tendencies have sought to create an integrated, cosmopolitan society.

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“…Instead, I approach Bola de Nieve's music as a performance complex formed by "human action and interaction," involving practices of listening, embodying, explaining, and identity formation, among other sociomusical processes. See for instance García 2017:5-6 andMadrid &Moore 2013:22-23. 10 I use a variety of sources, such as personal documents and newspaper articles found in the archive of the Museo Nacional de Musica de Cuba (Cuban Museum of National Music), Bola de Nieve File 855, musical recordings, and videos of Bola de Nieve's performances.…”

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confidence: 99%

Bola de Nieve

García Yero

2023

New West Indian Guide

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This article explores the antiracist strategies of Bola de Nieve, one of Cuba’s most renowned yet understudied Afrodescendant musicians of the 1930s Afrocubanista movement, to better understand the power and limitations of music as a platform to subvert racist structures. The article reinterprets the possibilities Afrocubanismo enabled for Afrodescendant artists, arguing that it allowed for greater antiracist oppositionality than previously thought. Moreover, the work challenges previous assumptions of Bola de Nieve as an Uncle Tom. It unveils the ways in which Bola de Nieve’s music was constitutive of Cuban society’s racial dynamics. His performances worked as key sites where meanings of music, race, and national imaginaries articulated in powerful ways, expanding the roles and spaces of Afrodescendant performance. Through music, the artist resisted society’s efforts to reduce him into confined social categories of race and nation.

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Danzón Matters

Cited by 3 publications

References 0 publications

The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana

The Political Force of Musical Actants: Grooves, Pleasures, and Politics in Havana D'Primera's ‘Pasaporte’ Live in Havana

Against Populism: Music, Classification, Genre

Bola de Nieve

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