The 'routes' and 'roots' ofdanzón

A Critique of the History of a Genre

Bibliographic Data

ID4305316
AuthorsHettie Malcomson (0000-0002-2960-4399, University of Cambridge, corresponding author)
Year2011
Volume30
Issue2
Pages263-278
Publication date2011-05-01
Peer ReviewedYes
Open AccessYes
TypeARTICLE
VenuePopular Music (JOURNAL)
Journal identifiersISSN: 0261-1430 • E-ISSN: 1474-0095
PublisherCambridge University Press (CUP) (PUBLISHER)
DOI10.1017/s0261143011000067
OpenAlexW1965049265
LanguageEN
Citations received5
References cited23

In this article, I examine the history of a genre that spans several continents and several centuries. I bring together material from Mexico, Cuba, France and the UK to create anew, expand upon and critique the 'standard' histories of danzón narrated by Mexico's danzón experts (and others). In these 'standard' histories, origins and nationality are key to the constitution of genres which are racialised and moralised for political ends. Danzón, its antecedents and successors are treated as generic equivalents despite being quite different. From the danzón on, these genres are positioned as being the products of individual, male originators (and their nations). 'Africa' is treated as a conceptual nation, and 'Africanness' as something extra which racialises hegemonic European music-dance forms. Political leanings and strategies determine whether these music-dance forms are interpreted, adopted or co-opted as being 'black' or 'white

Archaeology · Art · Constitution · Dance · Hegemony · Immigration · Key (lock · Literature · Nationality · Political science · Politics · Sociology · White (mutation · Diversity and Impact of Dance · History · Law · Music History and Culture · Theater, Performance, and Music History

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