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Danzon in Mexico

 
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Jose Morales



Joined: 30 Sep 2003
Posts: 1

PostPosted: Sep 30, 03, 12:04    Post subject: Danzon in Mexico Reply with quote

I'm looking for information on how Danzon came (when, why, how) to Mexico. From what I know by reading some liner notes, I guess the first Cuban to establish a danzon orquesta in mexico was Acerina. Were there groups before this? tours?etc? :?: :?:
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danzon_admin
Site Admin


Joined: 29 Sep 2003
Posts: 21

PostPosted: May 30, 04, 10:06    Post subject: See our Cuban music History section Reply with quote

For more about the history of Cuban music, please go to our Cuban Music History section on the main website.

You can also check out samples of the Orquesta's music, and catch up on their latest performance schedule on the main site..


Last edited by danzon_admin on Jul 23, 05, 23:27; edited 1 time in total
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danzonero



Joined: 25 May 2005
Posts: 4

PostPosted: Jun 11, 05, 18:48    Post subject: Re: Danzon in Mexico Reply with quote

Jose Morales wrote:
I'm looking for information on how Danzon came (when, why, how) to Mexico. From what I know by reading some liner notes, I guess the first Cuban to establish a danzon orquesta in mexico was Acerina. Were there groups before this? tours?etc? :?: :?:


Hola Jose,

There is some history regarding your question/s. What do you already know? I used to take lessons from Roberto when I lived in the Bay Area. I took just a couple lessons from since I have left before he left for Peru. Whenver I asked him what he know of Mexican Danzon, he stated that he didn't have much information regarding it. He did introduce me to the music of Acerina in about 1993 or 1994.

Since then, I have been to Mexico and San Antonio, Texas and studied Danzon in both Mexico and Texas. In fact, I am now teaching the Mexican style. It is different but also similar in the way that Spanish is to Portuguese, both Romance languages and similar but still very different in many ways.

When I was in la Habana in '96, the two times that I danced Danzon, I had to modify what I had learned from Roberto because the two women I was dancing with didn't dance the way Roberto taught. Roberto used to tell me that he really wasn't teaching Danzon but Danzon-Cha.

As you know, Roberto is probably the only leading authority on Danzon and Danzon-Cha and he's also a stickler for attention to detail, and technique. The two women that I danced with had never studied with Roberto but I knew that I had to adapt. His reputation as a teacher was apparentely well known in Cuba and I know some of his former students are over there somewhere.

The Mexicans who do dance Danzon take a lot of pride in the Cuban origins of the dance and give a lot of credit where it is due. They all know of Acerina. I met one of Acerina's protoges named Hipolito. He presently plays in one of the danzoneras (Mexican bands that plays Danzones). Off course Merceron was another Afro-Cubano that enjoyed great popularity in Mexico.

I saw lots of pictures hanging up in the former La Colonia. This great salon closed down this year, I think. What a great place to dance and listen to all of those great danzoneras, sometimes 4-6 of them in one evening.

If you get this response and get back with me with what I asked you earlier on in this message. I will attempt to get more information for you if I have it. I am a Danzon fanatic and still learning.

Hasta la proxima,

Ricardo "El Danzonero" (a pet name some gave me because of my love of Danzon)
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gzaragemca



Joined: 21 Jul 2005
Posts: 2
Location: Houston,Texas

PostPosted: Jul 21, 05, 16:48    Post subject: Reply with quote

There is the omission of the switching to Danzonete from the Danzon,in 1929,by Aniceto Diaz,being the first song in that respect,"Rompiendo La Rutina'. for information in relation to Afrocuban Percussion see,(Zaragemca's bongos,congas,Timbales.and Bata).Dr.Zaragemca
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danzonero



Joined: 25 May 2005
Posts: 4

PostPosted: Jul 22, 05, 2:32    Post subject: Reply with quote

Yeah Gerry,

There was an omission but not due to disrespect of this most important part of the musical history, present, and future of Cuban music that has been adopted by the world. I was keyed in on the Danzon as danced and played in Mexico. The Mexican Danzon has obviously borrowed extensively from the earlier formats as well as evolved or created their own styles. In fact, upon reading one of your earlier posts to danzon.com you did clarify one thing for me which was the importance of the vocalization section. I also read in LatinBeat, the introduction of the claves and Maracas in the Danzonete. The claves are used most frequently in the Danzonera bands (Mexico) in the second melodia. I did further research on Google and really began to connect the dots of the importance of Danzonete's contribution to later styles.

As related to the Danzon and Danzon Cha, I also see Jose Urfe's composition of El Bombin de Barreto as a major contribution to the Danzon as danced in Mexico and to a great extent the Danzon-Cha. In the "montuno section" (Danzon) the dance, appears to me to be Son or a form of Son but danced on the first count in Mexico rather than emphasis on the fourth count as I danced it in Cuba , and as emphasized by Roberto Borrell in the Danzon-Cha. Roberto used to call the vamp section the "Mambo" section and Cha Cha Cha was danced in that part when I studied under him in the 1990s.

There was a group, here in Atlanta, that used to play Danzon-Chas in the Charanga format and with a vocalist, and the dancers were out on the floor. Unfortunately, the group no longer exists because of travel restrictions.

I will check out the rest of your website later on and am very pleased that you responded to my posting. I also hope to be in Houston in November sometime, and will email you if I get the chance. Thanks for the respuesta and your comments.
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gzaragemca



Joined: 21 Jul 2005
Posts: 2
Location: Houston,Texas

PostPosted: Jul 22, 05, 9:27    Post subject: Reply with quote

Greeting, there is an important historical situation, which fired the changes which took place,the orquestras were having a lot of presure from the Sextetos,in the 1930's,so there was the need of a more dynamic pulse and integration of the singers in order to compete,also the 'Cinquillo', a characteristic musical phrase,(which was called Cake-Walk by the musicians in New Orleans), would change the structurization of the presentation of this music at that time,and the whole deal was called Danzonete. 'El Bombin the Barreto',was dedicated to Julian Barreto a great musician at that time.I've was amazed when I came to the U.S., and I did play with around five mexicans bands,(two of them Show-Bands), where I had to play everything including a lot of Danzones :) ,You are welcome to Houston,I'm conducting a group percussion training with my students every Thursday's Night.Dr. Zaragemca

Last edited by gzaragemca on Jul 29, 05, 9:02; edited 1 time in total
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webmaster



Joined: 01 Apr 2004
Posts: 17

PostPosted: Jul 27, 05, 20:16    Post subject: Reply with quote

Oh, forgot to welcome both gzaragemca and danzonero to the forums, glad to have you both. Feel free to post any further thoughts you may have, it's appreciated.

Sorry for some of the glitches you may or may not have noticed on the forums by the way, I think I fixed them today, things like not staying logged in for example.

thanks, webmaster
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