MERENGUE
170th Anniversary of the Documentation
Introduction
During the 19th Century, this dance, due to its simplistic interpretation and dance, began to gain the attention of a wide spectrum of the society of the Dominican Republic. Members of the isolated and poor social classes of the time found in merengue’s rhythm and dance a fun way in which to express everyday struggles, their efforts, victories, defeats, passions and aspirations. This is the reason why through merengue, fragments of the popular Dominican history have been carried on. On the other hand, the wealthy and ruling class rejected the dance considering it immoral, coarse, and insipid.
Rejection and Criticism
The intellectuals of the time, such as Eugenio Perdomo and Ulises Francisco Espaillat wrote articles in various publications against the then folkloric merengue which was regarded as a threat—due to its choreography, albeit simple—to the dances practiced in high society venues such as the “Tumba” which was predominant. “Tumba” was a complex social dance based on greetings, reverences, lines, and circles, as will be demonstrated during this presentation by members of the Folklore Dominicano Dance Ensemble.
Origins of Merengue
There is no precise date associated with the origins of merengue, thus we celebrate the dates of its documentation, though we understand that its existence must have predated the appearance of articles by pompous journal critics on the subject between the years of 1854 and 1875.
Theories about the Origin
Some argue that merengue originated from the Spanish dances of the time or from the Upa Habanera. While others present theories regarding its creation by indigenous people of the region or of its origin from the slaves brought to the Island.
There is yet another theory, which indicates that it is the product of the combination of internal and external rhythms; African, Spanish and native. In this regard, the late teacher Fradique Lizardo indicated that the arrival of slaves from the “Bara” tribe to the Caribbean led to the dissemination of a rhythm called merengue all over the region, subsequently having variations amongst the Caribbean islands.
Evolution of Merengue
The group “Convite” in its recital of “Origins of the Merengue”, dedicated to Luís Alberti and Don Julio Alberto Hernández in 1976, stated that merengue is an expression of minority ethnic groups. The music is abundant with African rhythms, which challenged the hostile social environment in regions such as the Cibao, where the Spanish were a majority were Spanish occupants.
This dance, in its early stages was played with a set of typical Dominican instruments including five and three strings, the Creole bandurria, the violin made of cat intestines cat, the guitar, the tambora and the güira. With the entry of the accordion to the zone of the Cibao around 1870, the merengue undergoes its first modification. Now played by the accordion, güira and tambora/ drums (perico ripiao) the music was more mobile, and it became easier for this music to be played at festivities.
Julio Alberto Hernández in his book (Musical Album) “Album Músical” points to Juan Francisco (Pancho) García as the first to musically write merengue in 1922. Others followed this trend such as Esteban Peña Morel, Juan Espínola and Emilio Arté, who also introduced the “paseo” circa 1927.
Changes and Modernization
The evolution of this rhythm is as follows: it begins with the introduction of the accordion, then the introduction of the walk (paseo) and the incorporation of this walk (paseo) to the Merengue Compadre Pedro Juan “Godfather Pedro Juan” in 1936 by the teacher Don Luis Alberti.
The introduction of the tumbadora (instrument of Cuba origin) by Julio Gutierrez during the 1940´s started to change the rhythmic section of the orchestra.
By 1955 the dictator Trujillo, for an international fair, hires the Xavier Cugat Orchestra. This Orchestra produced a LP of merengues which went around the world, allowing some dance teachers in the Dominican Republic to modernize the merengue and to produce a musical show with merengue as its theme. During the 1960´s, Johnny Ventura with the LP “La Agarradera” ignited the music revolution that continues today with merengue.
Contributions of Musicians
It is important to mention, that without tamboreros such as Tapacán Columbus, Luís Ortíz (The Maco), Juan Tejada (Juancito Trucupey), Francisco Porto Jáquez, Ramoncito Cruz (that of the Pipe) and the spectacular Catarey Andújar; singers such as Pipí Franco, Frank Cruz; and güireros as Pablo Cruz (Pablito Barriga) and Elías Peguero today’s merengue would lack the rhythmic force that these and other excellent musicians have imprinted on the national Dominican rhythm.
Innovations in New York
Dominicans in New York have contributed to the changes registered in the rhythm of merengue by adding new combinations which have allowed the birth of fusions such as the meren-house and the meren-reague both of which have a poly-rhythmic richness.
There is yet another theory, which indicates that it is the product of the combination of internal and external rhythms; African, Spanish and native. In this regard, the late teacher Fradique Lizardo indicated that the arrival of slaves from the “Bara” tribe to the Caribbean led to the dissemination of a rhythm called merengue all over the region, subsequently having variations amongst the Caribbean islands.
Presentation by the Conjunto Folklórico de Alianza Dominicana
The program presented by the Conjunto Folklórico de Alianza Dominicana, is the result of the collective work of the group based on three investigations on Merengue. The first one was “Convite” in 1976. The second of the “Ballet Folklórico de la UASD” which originated the show (Merengue Before, during and after) “El Merengue: antes, durante y después” dedicated in life to the singer Alberto Beltrán. The third investigation allowed the production of the show (Merengue, dance, origin, and evolution) “El Merengue: Baile, Origen y Evolución” presented in 2003 by the Conjunto Folklórico de Alianza Dominicana which was dedicated to Joseito Mateo, Millie Quezada and Luis Kalaf, for their great contributions to our popular music. Today’s show honors a selected group of artists and personalities for their contributions and support of Merengue.
And now enjoy the Dominican Day Parade.