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national and racial identity. Earlier versions existed in Cuba and Haiti, but Dominicans are
often disinclined to admit African and Haitian influences on their culture. Many theories
point to European-derived ballroom-dance styles. According to one popular myth, mer-
engue originated in 1844, the year that the Dominican Republic was founded, to poke fun
at a Dominican soldier who had abandoned his post during the Battle of Talanquera in the
War of Independence. The Dominicans won the battle and, while celebrating the victory at
night, soldiers mocked the cowardly deserter in song and dance. Eurocentric critics em-
phasize merengue's European elements; Afrocentric scholars may emphasize its African
and Haitian elements; and those who celebrate racial amalgamation point to its synergistic
nature.
Bachata: A Social History of Dominican Popular Music,
by Deborah Pacini Hernandez, and
Merengue:
Dominican Music and Dominican Identity,
by Paul Austerlitz, are academic examinations of the DR's
two most important musical contributions and obsessions.
