To better understand the nature of this type of dance, we will take a step back.

back in time, to the distant year 1510, when Diego Velázquez was commissioned
to delve into the interior of the island of Cuba to find out if they were hidden
the gold deposits. Thus began the pacification, as the Spanish referred to it.
to take possession of the lands of the aborigines.
In 1514, the town of San C was founded in the western part of the island.
Cristóbal, later renamed Havana, and in 1515 the same Diego Velázquez founded
the first settlement in the region of Baracoa, which was named Nuestra
Lady of the Assumption.
With the collaboration of Pánfilo de Narváez, in just four years it was put ...
tata has concluded the occupation of the entire island.
The local indigenous people were quickly exterminated by the ferocious conquistadors.
pagnoli, who at that point found themselves forced to import new labor from con
African lieutenant, giving life to one of the most painful and horrific pages of history.
the humanity's abyss: the slave trade.
Many African ethnic groups arrived in Cuba. Among the most important.
we remember the Yoruba, the Dahomean, the Congolese and the secret society of the Abakua
originating from ancient Calabria, now Cameroon).
The Spaniards tried in every way to subjugate this great mass of humanity.
strapping it first from its roots and introducing it with force
the cult of the Catholic religion. Many Africans made an unlikely conv
version, but in reality they continued in full secrecy to worship their idols,
I live in a religious syncretism that took the name of Santeria.
Certainly, among the various religious cults brought to Cuba by Africans, that
that has exerted greater influence is the worship of the Orisha (also known as co
Ocha or Lucumí rule), originating from the Nigerian Yoruba culture, which favored the
birth of the santeria dances.
They were dances inspired by religion, in which, through gestures, they move
In particular and the use of certain colors, the aim was to represent all g
the gods belonging to the varied Cuban pantheon.
Among the many deities of Santería, we remember: Olofi (the Creator), Elegguà (Saint An
Tony of Padua, Changò (Saint Barbara, God warrior, master of fire and of the fo
Yemaya (the Goddess of the sea), Obatala (father of all the orishas), Babalu Aye (Saint
["Lazarus), Ochosì (Saint Norbert), Oyà (Virgin of Candelaria), Orula (Saint Francis"]
Our Lady of Charity of El Cobre
Even today, there are many Cubans who celebrate these deities in bat gatherings.
sacred touch of saint, attended by both priests (babalaos) and simple people
faithful (santeros) and where magic and religious belief often merge into authentic rites
of possession and states of
trance.
The music that accompanies these dances is essentially rhythmic. Typical instruments...
the so-called batá drums, sacred drums shaped like an asymmetrical hourglass
equipped with two skins at the ends (Iyà is the largest, Itòtele the medium, and Okònkolo the p
small) and are accompanied by a metal sistrum called atcheré.
There are many musicians who have converted to this religious practice, to
retest of the great influence that santeria has always had on the whole m
music of Afro-Cuban origin. Among the most recent compositions, we remember:
Viejo Lázaro dei Dan Den, Santa Calabra degli NG La Banda, Que te queres que te den d
Dalberto Álvarez and I am all of Los Van Van, all dedicated to this fascinating you.
ma.

In 1886, the abolition of slavery was officially declared. This event

it caused a massive exodus from the countryside to the cities, which saw the birth of the pr
in these poor slums the first festivals appeared with
non-religious collectives, known by the name of rumba. The name ru
mba derives from the term mujeres de rumbo which was given to certain forms of prostitution.
nonexistent in some dance halls. Rumba thus became synonymous with celebration and
the verb rumbear came to describe the activity of dancing, celebrating, having fun.
Musically speaking, the essential elements of the rumba were already present in
the poorest neighborhoods of Cuba, more precisely in the arsenals and port areas
of Havana and Matanzas and in the adjacent rural areas.
From the fusion of African rhythms with the habanera, in these very poor environments,
rumba was born as a popular dance.

At first, this music was played with everyday objects such as doors,
drawers and overturned stools, spoons and pans.
Among the first tools used are cajones (usually of three dimensions
ni: first, second and third), built with packaging cases including the box
of cod (boxes in which the cod was transported) and the candle box (boxes in
to which the candles were transported), and the clubs, also derived from the impractical use
marine ankle ties (short stakes of hard wood that were used
they are on the boats and they suited well, given their characteristics
strictly for use as a musical instrument).
Later, instead of the cajones, the congas arrived (mainly derived from
from the drums of Makuta, of Congo-Bantu origin, originally made in a
hollowed-out wooden trunk), built with barrel wood or cask wood, with bo skins
nailed or glued first, with the modern mechanical tensioning system
poi.
Three drums (the Congas) called salidor, tres golpes, and quinto, are added
the bus or catà and the voices (soloist + choir).

The rumba, like all musical forms, is subject to certain structural rules.
tturali: the voice begins its song with a lalaleo (a kind of call, that s
serve to attract the attention of those present, warning them that the soloist is about to begin
begin its song) following a musical introduction, with a period that
beloved Diana; after which we move on to the presentation of the theme also known as the tenth (thus
called even if the verses are not necessarily tenths), during the q
Well, the musicians also start with the various instruments (it's the point where it breaks the
rumba and the dancers, or the dancer, as in the case of Columbia, begin the
they dance).
After this vocal part, the capetillo enters, that is, the vocal improvisation of the so
list with the response of the choir called the refrain. The latter with the urgency of the pe
it halves and the dance becomes more frantic.
Many themes of these songs generally deal with everyday life topics,
I used the rumba to talk about what was happening in the neighborhood, or about what c
they had done this or that, many others instead (who used some of
African aletti) invoked the Orisha, the ancient African deities worshipped by
blacks of the island, despite the prohibitions of the Catholic Church.
There are many variants of rumba, including the oldest tango congo (whose)
The rhythmic lullaby will subsequently give rise to other musical forms such as the milonga, the ta
Argentinian NGO and the blues of New Orleans), the giribilla (an ancient dance that the sc
avi used to simulate the escape from the camps, showcasing their a
skills, endurance and physical strength), the tahona, etc.
Currently, the three main styles that are played and danced are the guaguan.
then, the yambu and the columbia.

Three styles of rumba correspond to just as many types of dance:

The guaguancó, originating from the Matanzas area, was born in the late 19th century and
it is the ancestral dance of fertility, a hymn to life, simulates the request for love, it is a
in courtship and a back-and-forth between man and woman. It is characterized by movements.
strongly erotic entities (for this reason, like other manifestations of origin
African culture has been looked down upon if not outright forbidden by white society and bourgeois.
In this dance, the man seeks to symbolically possess the woman, completing
or a pelvic movement that mimics penetration, called vacunao (which in Matanzas
si chiama anche abrochao). Lo stesso significato lo assume qualunque gesto (impu
of any part of the body, danced towards the ballerina. The woman
he defends himself by covering his private parts with a handkerchief, with the fold of the
gonna or with the hands and responds to the provocations of the man or with the button (a gesture
of acceptance or submission), or conversely, with a lateral movement of the
and also a gesture of mockery made with the hands or feet to refuse
the dance of the man. The dance generally ends when the man manages to woo the woman or q
when you lose hope of doing it.
The yambù, also called rumba de tiempo de España, originates as an expression of folklore.
it is urban, and finds its origins in the popular neighborhoods of Havana, like Jesus M
aria and Belen. Like the guaguancó, it also dates back to the 19th century. It is characterized by u
in slow time, from a melodic song and from gentle movements. The couple sets in sc
a romantic dialogue during which the woman coyly refuses him
the man, who in turn tries to win her over. The climax of the dance takes place
there is when the dancer throws a handkerchief to the ground and then bows to pick it up
I with the mouth.
The yambù is characterized by incessant movements of the hips and shoulders. The main part
the main character is the woman, even though the man has a very important choreographic role.
you.
In the beginning, it was danced only by elderly people, and for this reason, its steps were derived.
slow, relaxed, elegant, and rhythmic. Later, even the young began to dance.
Arlo imitating the elderly, thus showing fatigue and difficulty of movement.
It is not a very cultivated genre and, even if it has lost much of its popularity today
Yes, it can be considered the precursor of the guaguancó, which is currently the most widespread rumba.
Often in a good rumba, there always comes a moment when the singer starts.
with this delicious and unforgettable yambu:
Hey, yeah, hey, yeah!
How good, how good, hey.
How good, how good, huh.
Hail Mary, Mother.
Moreover, in the yambù, there is no vaccination! In the dancer's movements, there must be none.
no sexual or pelvic allusion.

Columbia is a very particular form of dancing rumba. It originates in rural areas.

I in Matanzas, particularly in a little town called Union de Reyes, where there was a
small farmhouse called Columbia, where groups usually gathered for
percussionists, singers, and dancers.
Originally, it was also danced by couples of dancers, but over time it became
the prerogative of men only.
The columbia has a very fast rhythm that highlights the dancer's abilities.
o che, a sua volta, si esibisce in virtuosismi ed acrobazie tendenti a sfidare g
the other men or the drum. The dancer, once they enter the scene, greets the
the drum, called quinto, with which he supports a true challenge of life
rtuosismo. During this challenge the dancer, also called Colombian, shows
all of his skill through highly acrobatic moves. Sometimes he showcases c
very complicated choreographies in which she dances while holding a glass or a bottle
it is above the head. In some cases, it shows ballet steps or circus feats, opp
You imitate the movements of baseball players, or a boxing match. In other
he almost enters the scene with a particular type of knife called a machete.
Today, even the gestures of karate, the steps of break dance and rap have entered
It is part of Columbia which, while remaining a rite for a few chosen ones, cons
it preserved its popularity intact, and remains the toughest test for dancers.
the most virtuous, eager to showcase their talent. A good dancer of
you have to be very agile and have absolute control over your own body.

The proclamation of the republic, which took place in 1901, represented a serious danger.
or for the survival of the rumba. If until then the Spaniards had left
to greatly expand freedom in the musical field, the new rulers, as the historian tells us
Fernando Ortiz arrived to prohibit with a decree the use of all drums.
of African origin. The concern of the new Cuban aristocracy was indeed
is to give the whole world the image of a civilized nation, which does not
has nothing to do with African barbarities. The decree only allowed the use
 of percussion instruments such as the güiro, maracas, and claves, which caused
the birth of vocal groups called coros de clave.
The drums continued to play in secrecy until they returned to the forefront.
In the following years, with the introduction of congas in the classical orchestra.
of charanga (a fundamental event because it will lead to the birth of new rhythms, co
for example, the cha cha cha and the new rhythm danzón, later baptized
the mambo).
The influence of rumba on salsa is still very evident today. Many compositions
salsas, for example, open with the introduction of rumba, which often offers to the dancers.
they played the role of absolute queens.
In Cuba, rumba still enjoys immense popularity today, especially among the people.
of color, and it is not uncommon to witness real showcases of skill on the street.
follow the rhythm of Columbia. A famous example is a spontaneous event known as
the Saturday of the party, which often takes place in the street or in the courtyard of which
What a hot solar.
In the thirties, from the street and from the solares where it represented the time of leisure,
the rumba, in unrecognizable forms, enters the repertoire of the big bands of N
New York also lands in Europe, losing much of its aggressiveness and adopting
or softer and more flexible attitudes that result in being completely unnatural
of its original meaning. Thus the rumba de salón was born.

Mr. Signorino Cristiano

[Link]
To be a partygoer

To be a rumbero you must have cried.

To be a rumbero, you must have danced.
you must have dreamed, have lived;
to be a rumbero you have to feel it inside
sweet emotions that stir your feelings,
if you weren't born with the clave then you are not a rumbero;
you will be able to sing with sincerity,
you will be able to have a good voice
but you can never be a rumbero if you lack the heart;
To be a rumbero, you must love people.
and to have a soul as clear as the eastern sun
you have to be honest and then you will be a rumbero...
The rumbero is a being with joys and pains
that expresses feelings with the beats of the drum,
You must be sincere to play the rumba, oh God!

Rubén Blades.