The Danzón, North American Racial Discourses, and Reflections on Early Jazz

This essay proposes a way of understanding the formation of jazz as part of a broader transnational exchange of culture. It argues that the processes by which jazz came into being closely resemble others taking place in Cuba and elsewhere, and thus calls for analysis that positions jazz as part of a hemispheric exchange of cultural influences that extend beyond the United States. Second, it reviews and critiques existing scholarship on New Orleans jazz from a transnationalist perspective. It suggests that such literature presents turn-of-the-twentieth-century New Orleans culture as insular, with little or no recognition of the international movement of artists and musical forms. Finally, it suggests that the cultural projects associated with jazz in the United States have necessitated a strong emphasis on the contributions of black US artists to the exclusion of Hispanics.