Guaracha: differenze tra le versioni

Versione delle 14:23, 14 giu 2010

Versione delle 14:25, 14 giu 2010

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== Guaracha come ballo ==

Ci sono poche testimonianze che ci indicano come era il ballo legato alla guaracha. Alcune incisioni del XIX° secolo suggeriscono che si trattasse di un ballo di coppia, ''non'' con una sequenza di passi vincolati come la [[contradanza]].<ref>Un illustarione in Leal, Rine 1982. ''La seva oscura: de los bufos a la colonia''. La Habana. Le illustrazioni che seguono p67 hanno una didascalia che recita ''La guaracha es un símbolo del bufo, su german musical'', ma senza data. Questa incisione mostra persone di basso ceto che ballano in coppia.</ref> Il prototipo di ballo a coppie indipendenti è il [[valzer]]. La danza creola a cippie indipendenti, ballata a Cuba della quale abbiamo conoscenza certa è il [[danzón]]. Se la guaracha è un ballo precedente sarebbe interessante poterlo studiare dal punto di vista della [[storia della danza]]

== Guarachas nel teatro ''bufo'' ==

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During the 19th century, the bufo theatre, with its robust humour, its creolized characters and its guarachas, played a part in the movement for the emancipation of slaves and the independence of Cuba. They played a part in criticising authorities, lampooning public figures and supporting heroic revolutionaries.<ref>Leal, Rine 1986. ''Teatro del siglo XIX''. La Habana.</ref><ref>Leal, Rine 1982. ''La selva oscura, de los Bufos a la neo colonia: historia del teatro cubano de 1868 a 1902''. La Habana.</ref> Satire and humour are significant weapons for a subjugated people.

In 1869 at the ''Teatro Villanueva'' in Havana an anti-Spanish bufo was playing, when suddenly some Spanish Voluntarios attacked the theatre, killing some ten or so patrons. The context was that the [[Ten Years' War]] had started the previous year, when [[Carlos Manuel de Céspedes]] had freed his slaves, and declared Cuban independence. Creole sentiments were running high, and the Colonial government and their rich Spanish traders were reacting. Not for the first or the last time, politics and music were closely intertwined, for musicians had been integrated since before 1800. Bufo theatres were shut down for some years after this tragic event.

In bufos the guaracha would occur at places indicated by the author: guaracheros would enter in coloured shirts, white trousers and boots, handkerchiefs on their heads, the women in white coats, and the group would perform the guaracha. In general the guaracha would involve a dialogue between the [[tiple]], the [[tenor]] and the [[coro]]. The best period of the guaracha on stage was early in the 20th century in the ''Alhambra'' theatre in Havana, when such composers as [[Jorge Anckermann]], [[José Marín Varona]] and [[Manuel Mauri]] wrote numbers for the top stage singer [[Adolfo Colombo]].<ref>Giro Radamés 2007. ''Diccionario enciclopédico de la música en Cuba''. La Habana. vol 2, p179</ref> Most of the leading [[trova]] musicians wrote guarachas: [[Pepe Sánchez (trova)|Pepe Sánchez]], [[Sindo Garay]], [[Manuel Corona]], and later [[Ñico Saquito]].

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==== Guaracha as a dance ====

There is little evidence as to what style of dance was originally performed to the guaracha in Cuba. Some engravings from the 19th century suggest that it was a dance of independent couples, that is, ''not'' a [[sequence dance]] such as the [[contradanza]].<ref>An illustration in Leal, Rine 1982. ''La seva oscura: de los bufos a la colonia''. La Habana. Illustrations following p67 include one subtitled ''La guaracha es un símbolo del bufo, su german musical'', but without data on its source. This engraving shows persons of lower class dancing in couples.</ref> The prototype independent couples dance was the [[waltz]] (early 19th century ''Vals'' in Cuba). The first creole dance form in Cuba which we known for certain was danced by independent couples was the [[danzón]]. If the guaracha was an earlier example, this would be interesting from a [[dance history]] point of view.

== Guarachas in bufo theatre ==

During the 19th century, the bufo theatre, with its robust humour, its creolized characters and its guarachas, played a part in the movement for the emancipation of slaves and the independence of Cuba. They played a part in criticising authorities, lampooning public figures and supporting heroic revolutionaries.<ref>Leal, Rine 1986. ''Teatro del siglo XIX''. La Habana.</ref><ref>Leal, Rine 1982. ''La selva oscura, de los Bufos a la neo colonia: historia del teatro cubano de 1868 a 1902''. La Habana.</ref> Satire and humour are significant weapons for a subjugated people.