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In the mid-19th century, the habanera developed out of the [[contradanza]] which had arrived from [[France]] via [[Haiti]] with refugees from the [[Haitian revolution]] in 1791. The earliest identified "contradanza habanera" is "La Pimienta", an anonymous song published in an 1836 collection. The main innovation from the contradanza was rhythmic, as the habanera incorporated Spanish and African influences into its repertoire.
It is believed that the habanera was brought back to [[Spain]] by sailors, where it became very popular for a while before the turn of the century. Spanish composer [[Sebastián Iradier|Sebastian Yradier]] was known especially for his habanera "[[La Paloma]]", which achieved great fame in Spain and America and was largely responsible for the habanera's success to come. The habanera was danced by all classes of society, and had its moment of glory in English and French "salons" (ballrooms). The habanera was so well established as a "Spanish" dance that [[Jules Massenet]] included one in the ballet music to his opera ''Le Cid'' (1885), to lend atmospheric color. Of French habaneras meant to give "Spanish" color, the [[Habanera (aria)|"Habanera"]] from [[Bizet|Bizet's]] ''[[Carmen]]'' (1875) is the definitive example to the average listener, though the piece is directly derived from one of [[Sebastián Iradier|Yradier's]] compositions (the habanera "El Arreglito"). [[Maurice Ravel]] wrote a "Vocalise-Étude en forme de Habanera".
Popular knowledge has it that the habanera married the tango flamenco and exiled itself in Argentina where it eventually became the [[Tango music|tango]].
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