The Evolution of Danzón in Mexico: A Cultural Phenomenon

The history of dance dates back to prehistoric times when humans expressed their feelings and emotions through various artistic forms, including dance. Over time, dances evolved from ritualistic and religious purposes to become forms of entertainment and cultural expression. During the colonial period in Mexico, European dances began to influence Mexican society, leading to the development of ballroom dances.

Ballroom dances are characterized by coordinated movements between partners following the rhythm of the music. These dances had a significant social impact, leading to the creation of specific dance halls with orchestras and suitable dance floors for practice.

The danzón originated from the fusion of European contradanza with African traditions in Cuba. This fusion gave rise to the habanera or danza criolla, which later evolved into the danzón. By the mid-19th century, the danzón became a popular folk dance in Cuba, particularly among the black inhabitants of Matanzas.

The danzón in Cuba evolved from a traditional folk dance called 'dance on' performed by black residents of Matanzas. This dance involved coordinated group movements with torches and ribbons, often performed during carnivals. The first danzón compositions were created to accompany these carnival groups, and by 1870, the danzón as a partner dance emerged.

The danzón in Cuba was a result of the adaptation and personalization of European ballroom dances, becoming more tailored to the dancers' preferences and rhythms. In 1877, Cuban musician and orchestra director Miguel Ramón Demetrio File they Pérez composed four key danzón pieces, solidifying the dance's popularity in Cuban ballrooms.

By 1878, the danzón gained popularity in dance halls, particularly at the exclusive Liceo de Matanzas in 1879. The dance's success was attributed to its unique blend of European and African influences, making it a beloved cultural expression in Cuba.

The danzón was accepted by the people as the new dance and quickly became popular in the exclusive salons of the bourgeoisie. Initially, it was only played by orchestras as accompaniment at dances, but later evolved into a sung form.

The danzón transitioned back to being instrumental and, combined with other syncopated rhythms, led to the creation of the mambo dance style.

The danzón also gave rise to the danzonete, a genre that was both singable and danceable, influenced by the sun. The first danzonete, composed by Aniceto Díaz in 1929, introduced a new style characterized by a lengthy sung section.

The danzón in Matanzas was enriched by the influence of the sun, leading to the emergence of the bolero rhythm. This influence also paved the way for the development of other styles like the chachachá.

Initially, the danzón, like other partner dances in history, was considered indecent and immoral due to the close embrace and hip movements. Over time, it became respected, elegant, and refined, with the final montuno section allowing for gentle turns.

The danzón in Cuba officially began on January 1, 1879, when Miguel Faílde presented his first danzón titled 'Las Alturas de Xinzo' in Matanzas. By 1887, it was declared the national dance of Cuba, popularized by Cuban musicians until its peak in the 1920s.

The danzón arrived in Mexico through the Yucatán Peninsula, where geographical proximity facilitated the exchange of music scores and performers. It spread to Veracruz, becoming an integral part of the cultural life there.

During Porfirio Díaz's presidency, Mexico experienced a period of prosperity with extensive railway networks, a strong currency, and vibrant economic and cultural exchanges with other American and European nations. The inauguration of the passenger railway route between Veracruz and Mexico City in 1873 further popularized the danzón in the capital.

The danzón originated in Mexico and after being popular in Yucatán, Tabasco, and Veracruz, it made its way to the capital in 1893. Juventino Rosas composed 'Flores de Romana' for piano in 1893, which was sent to the Chicago Fair in 1902.

In 1910, during the Mexican Revolution, the danzón was embraced by the working-class neighborhoods for solace. While the effects of the revolution were felt in cities like Mexico City, Veracruz openly embraced and danced the danzón.

By 1920, after the revolution, Mexico was in a phase of hope for reconstruction amidst a challenging and complex life. The danzón continued to resonate with people from all walks of life, bringing joy and emotional connection.

Dance halls were vital social spaces where dance, social interaction, and cultural discussions intertwined. Various dance halls like La Academia Metropolitana, La Quinta de los Sabinos, and others emerged, fostering a sense of community and cultural exchange.

Salón México, known as the 'Cathedral of Danzón,' opened in 1920, becoming a melting pot for various social classes. It had three salons catering to different social strata, fostering inclusivity and unity through dance.

The dance hall culture expanded with the opening of Salón Colonia, where Maestro Carlos Campos composed 'Danzón al Colonia.' The success of dance halls like Salón Imperio led to the adoption of danzón-inspired names by various businesses.

In 1932, the Playa y el Pirata dance hall was established, followed by the Venus y el Esmirna in 1933, also known as El Esmeril. These venues were popular among workers and peasants, representing an era of dance and entertainment. The Salón México, frequented by common people, boxers, artists, and politicians, was a significant cultural hub until it was closed by Ernesto Uruchurtu in the late 1950s. Other dance halls like La Quinta Real, Santos Degollado, Los Ángeles, Riviera, and California Dancing Club emerged in subsequent years, each contributing to the vibrant dance scene in Mexico City.

The tradition of danzón dancing continues in Mexico City, with gatherings at locations like Parque de la Ciudadella since 1996. People of all ages and social classes come together every Saturday to dance to the rhythmic tunes of live music, keeping the cultural heritage alive and thriving.

The early danzón compositions by Faílde featured distinct musical parts, including an eight-bar introduction, solos by wind instruments like clarinet and violin, and a structured return to the introduction. Over time, the musical structure evolved into a rondo format, characterized by repetitive themes and variations, often incorporating elements from bel canto music. Composers integrated opera excerpts and well-known melodies into danzón pieces, enhancing the genre's versatility and appeal across different settings.

Diego Pérez and his orchestra performed a rendition of the melancholic and romantic melody 'Serenata' by Austrian composer Franz Schubert as part of a danzón. The piece includes themes from Schubert's work and is a significant part of the danzón named after him.

In danzón dancing, some instructors recommend dancing in patterns of eleven, ten, nine, eight, and two steps, mixing them to create various figures unique to the dance. It is essential to respect the 'cedazo,' a tradition where couples separate briefly during the dance to converse, flirt, or applaud the orchestra.

The basic Cuban danzonera initially consisted of a piano, four violins, a flute, a double bass, a timbale, and a güiro. Over time, additional instruments like clarinets, trumpets, trombones, and more were added, leading to the evolution of the typical Cuban danzonera. Changes in instrumentation, attributed to Antonio María Romo, introduced smaller, more flexible orchestras with a focus on soloists.

Notable danzoneras and orchestras include those led by Chino Flores, Ibarra Juan de Dios, Concha José Casquera, Fermín Zárate, and others. The orchestra 'La Playa,' directed by Maestro Diego Pérez y Reyes, celebrated its 70th anniversary, originating from Paso de Ovejas, a town between Veracruz and Xalapa.

Key Cuban danzón composers include Consejo Valiente Roberts, known as Acerina, José Casquera, Felipe Urban, Alberto Corrales, Barbarito Diez, Miguel Faílde, and others. Acerina, dubbed the 'King of Danzón,' was recognized for his contributions to the genre, alongside other influential composers like Papaíto and Israel López Cachao.

Notable danzón musicians from Mexico mentioned include Amador Pérez Torres Dimas, Acerina y su Danzonera, Luis Arcaraz, Chino Flores, Hermanos Sánchez Rosado, José Gamboa Ceballos, Rafael de Paz, Arturo Márquez, Chamaco Aguilar, Alejandro Cardona, Miguelángel Serralde, Carlos Campos, Everardo and Juan Córdoba, Emilio Ve Rosado, Pedro Escobedo, Luis González, Pablo Beltrán Ruiz, Mariano Mercerón, and Danzonera México.

Nereidas, composed by Amador Pérez Torres Dimas from Chila, Oaxaca, is considered one of the most famous danzones. Other renowned danzones include Almendra by Abelardo Barroso, Zacatlán by Pedro Escobedo Hernández, Mocambo by Emilio Rente, Teléfono a Larga Distancia by Aniceto Díaz, Rigoletto by Acerina, La Negra by Gonzalo N. Bravo, and many more.

The iconic danzón 'El Suave' by Rafael Hernández, famously danced by Don Mario Moreno 'Cantinflas' in the movie 'El Gendarme Desconocido,' is a significant piece in the danzón repertoire.

Originally, men wore linen or cotton pants, guayabera shirts, white or pastel-colored shoes, palm hats with colored ribbons, and contrasting handkerchiefs. Women donned knee-length plain or floral dresses in white or light tones, low-heeled shoes, accessories like flowers in hair, necklaces, and the traditional fan.

Over time, danzón attire evolved to include variations like the Cuban guayabera with four pockets, light colors, and the use of the 'amigo' accessory in Veracruz. The emergence of the 'pachucos' in Mexico City in the mid-20th century introduced a distinct style with loose yet cinched pants, long coats with wide lapels and padded shoulders.

Pachucos in Mexico during the mid-20th century wore a distinctive style, including Italian-style hats adorned with feathers, pants held up with suspenders and decorated with long chains, and French-style two-tone shoes typically in black and white.

Pachucos not only enjoyed dancing the danzón but also favored extravagant music genres like boogie-woogie, swing, and mambo among others.

Pachuca women's attire consisted of eye-catching dresses, high-heeled shoes, and elaborate accessories, including fans.

In Veracruz, Mexico, the National Center for Research and Dissemination of Danzón, a civil association, has been instrumental in promoting this dance genre through various artistic expressions, research, musicology, and more since its establishment.

Since 1998, the center has concentrated its efforts on three main areas, including artistic research, musicology, and more, aiming to formalize collaborations and enhance the cultural significance of danzón.

Despite its foreign origins, danzón has enriched Mexican culture and continues to be danced at various popular events like weddings, quinceañeras, and birthdays across Mexico, maintaining its status as a vibrant dance genre.

Danzón, with its unique style of dancing without acrobatics, remains a cherished tradition in Mexico, blending elements of eroticism with refinement, embodying a genuine Mexican identity that has stood the test of time.