Creativity
Danzas de deux mondes (Europe, Caribbean)
Classical music in the mix. Music has been present since the worlds of Europe, Africa and the Americas first came together. Even if it did not bring joy, music was a respite from the harshness of life at that time. On their decks and in their holds, African slave ships and Europe’s merchant vessels carried not only slaves, buccaneers, settlers and merchandise but also culture – in the form of songs and sad laments.
Doreen Southwood, The Dancer. Courtesy of Michael Stevenson, Cape Town.
© Mario Todeschini. “ZA – young art from South Africa”, Palazzo delle Papesse, Siena.
African influences in Caribbean art are now widely acknowledged, but European influences were just as much in the blend that would breathe into the essence of the islands and their songs and dances, romanticism, sensual melancholy and broad aspirations.
European music (especially that of Central and Eastern Europe) with its dances – waltzes, mazurkas, pas de deux – and romanticism - especially that of Central and Eastern Europe - as embodied by Brahms and Chopin, became part of the Caribbean fusion. At the turn of the 18th century in Haiti, for example, the Polish – who often unwillingly accompanied Napoleon’s troops – would be the first Europeans to give their support to the emerging nation. Their presence contributed to spreading the violin and melancholic music. The influence of the violin is also found in the folk music and dances of Dominica (merengue), Cuba (guaracha), and Guadeloupe and Martinique (the zouk).
European heritage would become grounded in the roots of much of the music of Cuba as well as that of Haiti, Puerto Rico and Martinique. Among the burgeoning bourgeoisie, this classical music of Europe and its local composers came to be known as ‘scholarly music’(‘musique savante’). In the first decade of the 19th century it would be taught at the Milo School of Music, founded by King Christophe, in northern Haiti and in the musical salons of Santo Domingo. Over time, this blend would become more exciting with distinctive features.You might say, more romantic, warmer, more mellow.
Such are the danzas of the Cuban Ignacio Cervantes (Duchas frias and three danzas) and Haitian Ludovic Lamothe (Danses espagnoles no. 2 in A minor, no. 3 in F minor, Déclaration) and works by Frank Lassègue (Chanson du rivage no. 3) and Alain Clérié (Prélude) are in the second part of the concert by Michel Laurent, which opens with pieces by Brahms (Waltzes, Opus 3) and Chopin (Mazurkas, Opus, 6 no 1, Opus 67 nos. 2, 3 and 4). Michel Laurent’s fluid, graceful and passionate interpretation completely captures the sensuality of this famous repertoire.
Theatre Molière, Brussels, 26 April, 20.00
‘Danzas des deux mondes’ will be organising regular concerts on the fusion between the classical music of Europe and the Caribbean. Info: danzas2worlds@hotmail.com
