The Rumba, of African root, arises with irrepressible force in Matanzas. Do not confuse it with the Rumba that later develops in Spain that drinks in the rhythm of the Son of the East. Alejandro Garcàa Caturla (1906-1940) already left a written work for orchestra, entitled “The Rumba”, where he tries to synthesize all forms of Rumba, the essence of Rumba. The Afro-Cuban spirit returned to flourish and the public appearance of Cuban popular music would not be expected. In 1920 the Son broke into la Havana. Between 1930 and 1940, the Rumba has arrived in New York under the pseudonym of “Rumba Loca”, but in fact this Rumba that is made in the USA has only Cuban Rumba the name and Son in its rhythm.
Let us now follow the track to the Rumba. Some rhythms that had been incubating for centuries in the slaves barracks arose the world in the beginning of our century under the common name that designates the Afro-Caribbean party or Rumba.
The Rumba, rather than dancing or singing, was a type of party created in certain social circumstances by the African and his descendants, not excluding the presence of a white population of low social strata, where possible and logically also the gypsy.
The Rumba, with its brilliant drumming, impulsive pace, free spins, sometimes almost painful and vocal improvisations, is one of the most spectacular Afro-Cuban traditions.
The Rumba is also punctuated by the keys in a 1-2 1-2-3 1-2-3 1-2, but the key or beat of the Rumba is more syncopated.
The Rumba that arrived in Spain only brought the name of it but in fact adapted the rhythm of the Son and its variants like the Guaracha arriving in the voice of flamenco cantaores and tonadilleras, that acted in Cuba and adapted it to flamenco forms, realizing the percussion with The palms…
Following in the next news…