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These often drew upon Afro-Cuban music, dance, and mythology, but typically rejected Santería rituals themselves. [436] In 1942, Rómula Lachatañeré 's Manuel de santería was published, representing the first scholarly attempt to understand Santería as a religion; [ 437 ] in contrast to Ortiz, he maintained that the tradition should be ...
The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European (especially Spanish) music. [1] Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world.
Mercedes Valdés Granit (September 24, 1922 – June 13, 1996), better known as Merceditas Valdés, was a Cuban singer who specialized in Afro-Cuban traditional music. Under the aegis of ethnomusicologists Fernando Ortiz and Obdulio Morales, Valdés helped popularize Afro-Cuban music throughout Latin America.
Pedrito Martinez is a Cuban percussionist, drummer, singer, dancer, bandleader, songwriter, composer, and educator. He was born and raised in Havana, Cuba. He is a Cuban Conguero performing classic Cuban Rumbas, Afro-Cuban folkloric and religious music. He is a Santería priest. He came to the United States of America from Havana in 1998.
This section has been quoted by other Cuban artists, most notably by Miami Sound Machine in their live presentations. Yma Sumac sang it in 1952 in her second single Wimoweh/ Babalú with Capitol Records. It was an introduction for Sumac into traditional pop music. [5] [6] Johnny Mathis recorded the song twice.
Celia Caridad Cruz Alfonso was born on 21 October 1925, at 47 Serrano Street in the Santos Suárez neighborhood of Havana, Cuba. [10] [3] [11] Her father, Simón Cruz, was a railway stoker, and her mother, Catalina Alfonso Ramos, a housewife who took care of an extended family. [3]
Music of African heritage, along with considerable Iberian (Spanish) musical elements, forms the fulcrum of Cuban music. Much of this music is associated with traditional African religion – Lucumi, Palo, and others – and preserves the languages formerly used in the African homelands. The music is passed on by oral tradition and is often ...
In the 1920s, there were efforts to incorporate elements of Afro-Cuban culture into a broader understanding of Cuban culture, such as through the afrocubanismo literary and artistic movement. These often drew upon Afro-Cuban music, dance, and mythology, but typically rejected Santería rituals themselves. [43]