An Anatomy of Creolization

Curacao and the Antillean Waltz

Datos Bibliográficos

ID3979902
AutoresNanette De Jong (0000-0002-0650-4459, autor de correspondencia)
Año2003
Volumen24
Número2
Páginas233-251
Fecha de publicación2003-01-01
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaLatin American Music Review (JOURNAL)
Identificadores de la revistaISSN: 0163-0350 • E-ISSN: 1536-0199
EditorialProject MUSE (PUBLISHER • US)
DOI10.1353/lat.2003.0019
OpenAlexW1595035929
IdiomaEN
Citas recibidas2
Referencias citadas7

The Antillean waltz denotes a genre enjoyed among the islanders of the Netherlands Antilles. While persons from Aruba and Bonaire share nominal claim, the Antillean waltz is most popular on the island where it originated—Curaçao. Today some Curaçaoan elitists, in the island's few concert halls, which they control, present refined renditions of the Antillean waltz, usually solo piano, in costly concerts whose audiences draw mostly from middle to higher social classes. Proper western attire is required here, with men expected to don suits or tuxedos; women knee- or full-length gowns. Special ushers watch over the front doors, ready to turn away would-be concertgoers inappropriately dressed. Audiences maintain strict concert protocol, remaining at quiet deference to the music, and applauding only at the proper places. However, another side to the modern Antillean waltz discloses such a context and belies the genre's more democratic roots, which traverse from among all Curaçaoan social classes. A more complete understanding of the Antillean waltz reveals strong creole metamorphosis

Archaeology · Art · Art history · Performance art · Waltz · Caribbean history, culture, and politics · History