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Rumba is a secular genre of Cuban music involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban Havana and Matanzas , during the late 19th century. It is based on African music and dance traditions, namely Abakuá and yuka , as well as the Spanish-based coros de clave .
Yuka is a secular Afro-Cuban musical tradition which involves drumming, singing and dancing. It was developed in western Cuba by Kongo slaves during colonial times. Yuka predates other Afro-Cuban genres of dance music like rumba and has survived in Kongo communities of Pinar del Río, specifically in El Guayabo and Barbacoa, San Luis. [1]
In the US, the term "rhumba" (anglicised version of rumba) began to be used during the 1920s to refer to ballroom music with Afro-Cuban music themes, particularly in the context of big band music. [5] This music was mostly inspired by son cubano, while being rhythmically and instrumentally unrelated to Cuban rumba. [8]
Songo is a genre of popular Cuban music, created by the group Los Van Van in the early 1970s. Songo incorporated rhythmic elements from folkloric rumba into popular dance music, and was a significant departure from the son montuno/mambo-based structure which had dominated popular music in Cuba since the 1940s.
The music is passed on by oral tradition and is often performed in private gatherings difficult for outsiders to access. Lacking melodic instruments, the music instead features polyrhythmic percussion, voice (call-and-response), and dance. As with other musically renowned New World nations such as the United States, Brazil and Jamaica, Cuban ...
Arsenio Rodríguez (born Ignacio Arsenio Travieso Scull; August 31, 1911 – December 30, 1970) [2] [3] was a Cuban musician, composer and bandleader. He played the tres, as well as the tumbadora, and he specialized in son, rumba and other Afro-Cuban music styles.
Category: Cuban styles of music. ... Afro-Cuban jazz (5 C, 5 P) B. Boleros (3 C, 46 P) C. Cha-cha-cha (1 C, 11 P) ... Cuban rock; Cuban rumba; D. Danza;
The album was reviewed in Folk Roots magazine, issue 169, in July 1997, [3] and by Gary S. Mattingly at amelor.com on August 24, 1998. [4] In his review at AllMusic, Daniel Gioffre stated: "A lively, spontaneous record that manages to sound both relaxed and forceful at the same time, A Toda Cuba Le Gusta shows off the talents of many of Cuba's elder statesmen of Afro-Cuban jazz.