Danzon: First dance facing each-other

 

 


 

I 

Unit: National Dance

Theme: Danzon


Introduction

If the danza cubana, or Cuban danza, owes to Ignacio Cervantes its origin and development, Danzon, Cuba's national dance, owes to Miguel Failde, its birth. Although the danzón is traditionally Cuban, it was influenced by a variety of cultures. Miguel Faílde, a Cuban musician, is the official originator of the danzón, the composer of the first danzón, “Las Alturas de Simpson,” and the founder of one of the earliest danzón orchestras, Orquesta Faílde (Faílde 2016).


 

II

Learning Objectives

  •  Understand the main characteristics of the danzon
  • Explain relationship between the contradanza, the danza and the danzon
  •  Gain an awareness of the classic and nationalist aspect of the danzon
  • Experience dancing the danzon

 

 III

Main Lesson

 

1

 The Danzon

General Notes (Based on Carpentier 2001, 212)

  1. Two types of contradanzas existed in the late eighteen hundreds: one closer to the classical pattern, marked by the spirit of the minuet, which later would be reflected in the danzon, by way of the danza, and the other, more popular, which followed its evolution, begun in Haiti, thanks to presence of 'French blacks' in the eastern part of Cuba.(150)
  2.  Although, Miguel Failde is considered the originator of the danzon, in Manuel Saumell's contradanza "La Tedezco,"all the elements of the danzon are foreshadowed in the first 8 bars of the piece.(191)
  3. As set forth by Saumell, the danzon would become enshrined as the new type of dance by Matanzas native Miguel Failde who in June 1877 composed 4 danzones named "El Delirio" (Delirium), La Ingratitud (Ingratitude), "Las Quejas" (Complaints), and "Las Alturas de Simpson (Simpson Heights). (222)
  4. From the start, musically, the danzon did not differ from the contradanza. In what was called danzon, the couple dances arm in arm, which came to replace the dance with figures that were the trademark of the contradanza.(222)
  5. There were political and patriotic danzones such as "Marti no debio morir" (Marti shouldn't have died).
  6.  There were danzones from World War I such as "La Toma de Varsovia (The Taking of Warsaw) and "Aliados y Alemanes" (Allies and Germans).
  7. There were also danzones based on opera and zarzuela themes.
  8. Starting in 1910, any musical material that could be taken advantage of was used in the danzon. 
  9. Danzon was the first dance in which the dancers were facing each-other.

     Question 1

    Which would you say is the main characteristic of the danzon?


2

Danzon composed by Miguel Failde, Las Alturas the Simpson

https://youtu.be/kF7nzR9B80k?si=usECyExACY7AD-24

 

3

Gladys y Antonio

https://youtu.be/kLvUx_oGwPM?si=lbloojq2LwdZlBCe

 

5

Jorge y Tahi

https://youtu.be/dFOZ3GIpqQo?si=BKdXzdgPoqVkzR_j

1:34:50 - 1:36:50


 
 Question 2

What is the difference between contradanza, danza y danzon?

Question 3

 Why would you consider the danzon a national dance?
 
 
 
IV
A Note to Remember
 
Manuel Saumell's contradanza had "all the elements of the danzon.(Carpentier 191, 2012).
 
 
V
 Case Studies
 

DANZÓN NEREIDAS 2008/ Alicia López y Miguel Ángel Vázquez

Exhibición de Danzón escénico, estilos arrabalero y de "fantasía",con elementos de la vieja y nueva escuela de Danzón Académico. Coreografía por Miguel Ángel Vázquez y Alicia López, presentada en el 4o. Congreso Nacional Danzonero "Oaxaca 2009", el día 20 de Septiembre ,en el Museo del Palacio de Gobierno. 

Tema: "Nereidas" Interpreta: Danzonera "Acerina" de Diego Pérez con la Orquesta Sinfónica de Oaxaca bajo la dirección del maestro Javier García Vigil. Arreglo para Danzonera y Sinfónica del maestro Gonzalo Romeu (Cuba)


 
 Interview
 
Dra. Mercedes Sandoval and Instituto Folklorico Cubano Americano
 
 
Question 4
 
What is Carpentier's idea about the origin of the danzon?
 


 
VI

Activity

Students learn the danzon style.
 
 
VII 
 
Glossary
 
 
VIII
 
Journaling
 
 
IX
 
Sources
 

MacManus, Katherine et al (2017). Danzón de Cuba: Music and Dancing. https://theclassicjournal.uga.edu/index.php/2017/04/09/danzon-de-cuba-music-and-dancing/

Carpentier, Alejo (2001). Cuban Music. University of Minnesota Press. https://www.google.com/books/edition/Music_in_Cuba/s0A0lw8uCnAC?hl=en&gbpv=1&dq=Cuban+Music,+Carpentier&printsec=frontcover

 
X
 
Students' Work
 
 -----------------
 
I
 
Unit: Iron Age
Theme: Comparsa

Introduction

 The African diaspora is the worldwide collection of communities descended from native Africans or people from Africa, predominantly in the Americas. The term describes the process of dispersal and the dispersed ethnic population. The African Diaspora has been formed by the movements of Africans and their descendants.
 
 
II
 
Learning Objectives 

  • Understand carnival as an expression of African diasporic history
  • Explain the meaning of the terms Circum-Atlantic memory and socio-cultural density
  • Gain an awareness of the meaning of  the society of the spectacle
  • Experience carnival dance choreography

 III
 
Main Lesson 
 
1
 
 
Havana

Question 1

 What is you impression of Havana's carnival in 1961?

 

 2

 

 Question 2


What is the difference between Havana's Carnival and Santiago de Cuba's Carnival in terms of dance?


3

 Conga los Hoyos, Santiago de Cuba

 

 Article

Toward an Understanding of Conga santiaguera: Elements of La conga de Los Hoyos

https://www.utexaspressjournals.org/doi/abs/10.7560/LAMR34204


Question 3

When comparing the Havana Carnival and the Santiago de Cuba Carnival, what are the things you observe are different?

 

 4

Conga as Show

https://youtu.be/j868ZBSJFuM?si=BcKD2qWuEA_w-WyH 

 

 5

https://youtu.be/oMBvJPZHHVY?si=abxrY1KcZ2yahx1l 

 

IV

 A Note to Remember

The African diaspora has left all over the continent traces of their religious, cultural and social practices. Carnival is one of the events that illustrate the impact that African cultures have had on Westernized culture since its insertion.

 

V

Case Study

Patricia Saunders


 Prof. Saunders is an associate professor of English at the University of Miami and Hemispheric Caribbean Studies Faculty Lead at the Miami Institute for the Advanced Study of the Americas. Her research and scholarship focus largely on the relationship between sexual identity and national identity in Caribbean literature and popular culture.

 



VI

Activity


Students learn conga/comparsa steps


Accompaniment for Dance

 

Learn the mains steps of the comparsa (carnival street dance)

Create your own steps or phrase with 8 moves


VII

Journaling


VIII

Glossary


IX

Sources

Milstein, Lani (n.d.).Toward an Understanding of Conga santiaguera: Elements of La conga de Los Hoyos. https://www.utexaspressjournals.org/doi/abs/10.7560/LAMR34204

 

X

Students' Work

 

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