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Rumba instrumentation has varied historically depending on the style and the availability of the instruments. The core instruments of any rumba ensemble are the claves, two hard wooden sticks that are struck against each other, and the conga drums: quinto (lead drum, highest-pitched), tres dos (middle-pitched), and tumba or salidor (lowest-pitched).
Throughout Latin America, "rumba" acquired different connotations, mostly referring to Cubanized, danceable, local styles, such as Colombian rumba criolla (creole rumba). At the same time, "rumba" began to be used a catch-all term for Afro-Cuban music in most African countries, later giving rise to re-Africanized Cuban-based styles such as ...
Last Rumba in Havana is a novel by the Afro-Cuban dissident writer and journalist Fernando Velázquez Medina, [1] who was born in Havana in 1951. It was published in New York in December 2001 by the Hispanic newspaper chain Hoy LLC , and boasts a cover designed by the Colombian artist Juan Arango .
Alicia Parla (1914 – October 6, 1998) was a Cuban rhumba dancer and hospital administrator who was called "the Queen of Rumba" by the press. Born into a strict middle-class Cuban family, she and her family moved to Miami when Cuba became politically turbulent in the 1920s.
Congolese rumba, also known as African rumba, is a dance music genre originating from the Republic of the Congo (formerly French Congo) and Democratic Republic of the Congo (formerly Zaire). With its rhythms , melodies , and lyrics, Congolese rumba has gained global recognition and remains an integral part of African music heritage .
Cuban rumba, a traditional Cuban music genre; Galician rumba, a music genre of Galicia, Spain, influenced by Cuban music. Rhumba, also known as ballroom rumba, an American style of ballroom music; Rumba flamenca, a style of flamenco; Catalan rumba, a Spanish popular music style; Rumba criolla, a genre of Colombian popular music
By the 19th century the noisy children had developed into people’s rumba with rhythm, music and verses (usually instigating the other district). The first instruments used in the rumba were cencerro, bombo, repique, and one special local drum called "atambora". Later, tumbadoras were added and in the 1930s trumpets finalized the ...
The collection begins with an epigraph from Fats Waller: "Let's waltz the Rumba." [2] The collection is divided into three parts of untitled prose poems, each ranging between two and five lines. [3] Each poem is indicated in the collection's table of contents by the first several words of each poem: