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It is not only
Cuban; nevertheless we must give credit to Cuba for the
origin and ancestry of creation. It is here where Contra-Danze
(Country Dance) of England/France, later called Danzón,
which was brought by the French who fled from Haiti, begins
to mix itself with Rhumbas of African origin (Guaguanco,
Colombia, Yambú). Add Són of the Cuban people, which was a
mixture of the Spanish troubadour (sonero) and the African
drumbeats and flavora and a partner dance flowered to the
beat of the clave.
This
syncretism also occurred in smaller degrees and with
variations in other countries like the Dominican Republic,
Colombia, Puerto Rico, among others. Bands of these
countries took their music to Mexico City in the era of the
famous films of that country (Perez Prado, most famous...).
Shortly after, a similar movement to New York occurred. In
these two cities, more promotion and syncretism occurred and
more commercial music was generated because there was more
investment. New York created the term "Salsa", but it did
not create the dance. The term became popular as nickname to
refer to a variety of different music, from several
countries of Hispanic influence: Rhumba, Són Montuno,
Guaracha, Mambo, Cha cha cha, Danzón, Són, Guguanco, Cubop,
Guajira, Charanga, Cumbia, Plena, Bomba, Festejo, Merengue,
among others. Many of these have maintained their
individuality and many were mixed creating "Salsa".
If you are
listening to today's Salsa, you are going to find the base
of són, and you are going to hear Cumbia, and you are going
to hear Guaracha. You will also hear some old Merengue,
built-in the rhythm of different songs. You will hear many
of the old styles somewhere within the modern beats. Salsa
varies from site to site. In New York, for example, new
instrumentalization and extra percussion were added to some
Colombian songs so that New Yorkers - that dance mambo "on
the two" - can feel comfortable dancing to the rhythm and
beat of the song, because the original arrangement is not
one they easily recognize. This is called "finishing," to
enter the local market. This "finish" does not occur because
the Colombian does not play Salsa, but it does not play to
the rhythm of the Puerto Rican/Post-Cuban Salsa. I say
Post-Cuban, because the music of Cuba has evolved towards
another new and equally flavorful sound.
Then, as a
tree, Salsa has many roots and many branches, but one trunk
that unites us all. The important thing is that Salsa is
played throughout the Hispanic world and has received
influences of many places within it. It is of all of us and
it is a sample of our flexibility and evolution. If you
think that a single place can take the credit for the
existence of Salsa, you are wrong. And if you think that one
style of dance is better, imagine that the best dancer of a
style, without his partner, goes to dance with whomever he
can find, in a club where a different style predominates. He
wouldn't look as good as the locals. Each dancer is
accustomed to dance his/her own style. None is better, only
different. ˇˇˇViva la variedad, ˇˇˇViva la Salsa!!!
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