Rumba is a Cuban dance imbued with the spirit of freedom. Demonstration performances and lessons of Latin American rumba musical instrument

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Rumba is a dance for a couple that has African roots. The features of this dance include smooth and sensual body movements, combined with wide steps. The most popular melody for rumba is considered to be the world-famous "Guantanamera", the author of which is Joséito Fernandez. This tune is still considered a classic of the rumba genre.

There are several varieties of rumba: ballroom, African, Cuban and gypsy rumba. All these varieties have the same roots, but are completely different both in music and in movements.

History of Rumba

This dance appeared in Cuba in the nineteenth century in combination with European contradance. The name of the dance comes, apparently, from the name of the dance groups at the beginning of the 19th century - "rumbosoorquestra", but from the Spanish "rumba" is translated as a way.

Rumba types

In Cuba, there were three versions of this dance, but the most famous was the Guaguanco rumba, when the partner follows the lady, trying to touch her hips, and she tries in every possible way to avoid this. Rumba got the name of the dance of love, probably because of this somewhat daring depiction of the courtship of a partner and the restrained passion of a partner, which she does not demonstrate so clearly. When the rumba was brought to America, it underwent some changes, and the pronounced sexuality of the Cubans was replaced by the restrained and less ardent style of the Americans. It is this variant of rumba that has spread all over the world, having found its connoisseurs among many generations of dancers and lovers of Latin American dances in general.

The musical accompaniment of Guaguanco is expressed in the rhythm of African drums, superimposed on the rhythm of the clave (a shifted accent known as 2/3). Sometimes such a rumba is danced to the simple singing of Spanish melodies superimposed on the rhythms of the drums. The performance can be performed by one or more soloists, who in the course of the song come up with words.

The rhythm of this dance is based on the rhythm of RumbaSon.

Rumba and cha-cha-cha

At the beginning of the history of this dance, rumba was not much different from cha-cha-cha, so the music was practically the same and everything fell under the category of rumba. But later the dances were clearly demarcated, the rumba became much slower, acquired a minor character. And cha-cha-cha, on the contrary, has accelerated, there is more major mood in it.

Therefore, the old rumbas, in our modern understanding, should be interpreted as cha-cha-cha, and sometimes they cannot even be qualified as one or the other dance, they are so peculiar. An example of this is "Guantanamera", better known as cha-cha-cha or "Cucaracha", which was considered a rumba, but in fact is neither one nor the other.

It turns out that the rumba came to us with religious rituals, developed on the basis of bright rhythms and choruses, or, one might say, all the dances created by the Cubans belong to the rumba. Today this dance is known all over the world. At first he was danced in a cabaret, then he came to television. There is also a version of the ballroom rumba, which is very different from the Cuban version.

ballroom rumba

The emotional content of this dance is distinguished by deeper emotions. In the course of its development, the rumba was saturated with many features that are more characteristic of the blues. The opinion that rumba is a dance of love is confirmed by the pronounced erotic nature of the dance and the drama of the music, creating an exceptional aesthetic effect. Rumba at the very beginning of its history was a wedding dance, demonstrating the duties of spouses with its movements. Modern rumbas are also interesting in their style, but, alas, they do not leave such a bright impression.

The first mention of rumba has been known since about 1850. Rumba is the result of a synthesis of colonial trade and everyday exchange between Africans captured as slaves and the dominant culture of Spain at that time. Rumba is a vivid example of how Afro-Cuba adapted to European culture. Rumba can be seen as a combination of music that originally existed in Cuba musical creolla(Creole music), the original musical tradition of the Caribbean, with a phenomenon that is today synonymous with "party" in Latin America and the Caribbean itself - for example, in Panama, Colombia and Puerto Rico. Like pedestal and makuta, rumba mainly means celebration and partying together. Cousins of Rumba - Brazilian sambade kinda, Colombian cumbia, Peruvian samba coueta, Panamanian tamborito and Jamaican mento. All these holidays are of a secular nature, in which men court or woo women with the help of dance. Although the word rumba itself is of Spanish origin, it does not refer to any Spanish dance. Previously, "rumba" meant a derogatory attitude towards a woman, it was a swear word, a definition for women of easy virtue ("la vida alegre"), possibly prostitutes ("mujeres de rumbo"). In Cuba, rumba became a symbol of frivolity, rumba was the name for the holidays of black slaves or representatives of the lower classes of the population of that time. Thus, the rumba has always been treated with disdain, instead of being regarded as one of the most important manifestations of Cuban culture.

Rumba ethnic routes intersect with the Spanish, British and Portuguese trade in men, women and children in other African regions. Between 1512 and 1865, the population between the western coast of Africa and the Gulf of Guinea (now the Angolan Republic) was taken into slavery. In addition, 525,828 officially registered slaves were "imported" during this period, and another 200,000 Africans probably entered Cuba illegally - the smuggling slave trade continued until 1875 due to a surge in agricultural development on the island. And although slavery was formally abolished in 1880, in fact it ended only with an act of trusteeship on October 7, 1886. The ritual music of these people from a wide variety of tribes was generally intricate, with a syncopated rhythmic structure - contrary to European rules - with an emphasis on the improvisation of low-sounding instruments. Consequently, the instruments that sounded higher were given the role of the second plan, in European musical terminology - accompaniment.

It is possible that the Rumba is most closely related to the culture of the Bantu people, the main population of the Congo Delta. Rumba also contains elements of the Ganga culture from Sierra Leone, Côte d'Ivoire and northern Liberia. But in Cuba, the mixing of traditions and the exchange of cultures created a phenomenon where sound registers changed priority - high-sounding instruments were given the role of improvisation, accompanying the main rhythm patterns played on bass instruments. Instruments with low sounds became responsible for creating and defining the melody. This is one of the reasons why rumba can be seen as a musical form that reflects African musical concepts of performance, but with instrumentation built in the logic of European musical discourse. Rumba also shows the influence of Spanish Cante Jondo(“deep singing”, i.e. singing in a serious, dramatic style).

On the topic of the relationship between flamenco rumba and Cuban rumba - read the article by Alla Zaitseva "Rumba Flamenco"

Rumba texts are combined with onomatopoeic phrases, ideas and forms of African origin. However, the roots of the rumba can be found both in predominantly black Havana, in poor settlements adjacent to cities and inner-city areas, and in the semi-rural places of Matanzas, surrounded by factories for processing sugar cane, centrales azucareros.

Sugar cane processing factory

General musical structure

Rumba is performed on percussion instruments: drums or wooden boxes (cajones), on sticks (claves) and with ordinary metal spoons (cucharas). Africa's contribution lies directly in the rhythm itself.

Chorus

In almost all forms of rumba, the singer begins with a "singal", a call to the assembled people, setting the tone for the sing-along choir. This song is called differently in different genres - in guaguanco it is "diana" (diana), in the yamba - "lalaleo" (lalaleo), in Colombia "yorao" (llora'o). Diana is especially important as it often contains the first chorus refrain (according to researcher Larry Crook 1 ).

Decima

After Diana the singer begins the main part of the song, based on decime- a ten-line poetic theme, gradually leading to the rhythmic climax of the rumba. Instead of a ten-line impromptu song, one of the well-known composed songs can be performed - for example, "Ave Maria Morena"(yambú), " Llora como llore"(guaguanco), "Cuba linda, Cuba hermosa"(guaguanco), "China de oro (Laye Laye)"(columbia), and "A Malanga"(Columbia).

Capetillo

After the main song is played, capetillo 2 - the choir begins to sing, as if answering the singer. It is also an invitation for the dancers to enter the circle. Capetillo establishes a relationship between the singer who freely improvises "questions" and the choir who "answers" them. During the colonial era (often referred to as tiempo españa,"times of Spain") rumberos used two wooden boxes of different sizes. A large cajon was made from boards from boxes for fish (catfish or catfish), a small one was made from thinner wood, from boxes from under candles. A rhythm consisting of repeating figures was played on a large cajon - a function tumbadora. On smaller boxes, with a brighter and higher tone - quinto- improvised rhythmic fragments were played, in accordance with the personal preferences and skills of the performers.

simple tools

Important elements of improvisation in rumba depend on such primitive instruments as a cupboard wall, an empty fish or candle box, a bar top (cantina), glass bottles, frying pans. In short, from everything that, in principle, can sound. Since the 1930s, all these primitive instruments have changed. Instead of cajons, they began to use popular Cuban tumbadoras known in the West as congas. The drums have inherited their names from the cajons, from bass drums upwards: tumbadora, tres-dos ( or tres golpes), kinto.

Mutual Aid Societies

Three variants of the rumba have survived to this day: yambu(rumba on cajons), guaguanco(popular genre) and Colombia(village form). Forerunners of yambu and guaguanco - Havana "clave choirs", coros de clave, as well as street ensembles Matanzas (bandos de calle). These ensembles trace their history back to the custom of holding street processions or celebrating Christmas by mutual aid societies, which consisted mainly of free men of certain African ethnic groups - cabildos (cabildos). It is likely that these coros as old as yourself cabildos. These were musicians who devoted themselves to the collective performance of secular songs written by African predecessors - Creoles(i.e. born on the island). And although the organization of these choirs probably retained or inherited part of the arrangement cabildos, the choirs did not represent African peoples, as it was in cabildos, and areas. Mutual Aid Societies cabildos they cared, first of all, about cohesion and support between representatives within the same nationality. They contributed to the development of their culture, as well as its preservation through social events and religious rites. For example, the municipality of Havana authorized members cabildos hold their processions and carnivals comparsa in public places from 9 am to sunset, celebrating Kings Day (January 6 - Epiphany).

From the depths of some cabildos famous choirs came out (coros)- for example, El Arpa de Oro ("Golden Harp"). These ensembles improved their vocal and poetic skills to such an extent that they were able to register them with the "Red Pencil" Chamber ("Lápiz Rojo"), which had the right to evaluate the quality of songs and allow their public performance. Not without censors, who corrected the texts and sizes of decimals.

Coros de clave and bandos de calle consisted of about 100 singers. And they held official competitions. Most Outstanding clarinas were Paulina Rivera and La Valenciana. Among desimesists(improvisers in ten-line format) - Ignacio Pinheiro and Joseito Agustin Bonilla. Between 1900 and 1914 several ensembles especially shone - "El Paso Franco" from Havana's Del Pilar, and "Los Roncos" ("Hoarse", founded by Ignacio Pinheiro) from the Pueblo Nuevo area. According to some sources, these gatherings eventually turned into rumba parties. Other researchers separate coros de clave and bandos de calle from subsequent formation coros de rumba. Ensemble must be mentioned Coro Folklorico Cubano managed by Pedro Pablo "Aspirina" Rodríguez, who continues this tradition. Ensemble members: Maximino Duquesne, Lazaro Riso, and Zuzana "Beba" Calzado, co-founded in 1953 with Odilio Urfe.

El chevere - Coro folklorico cubano (1)

Yambu. Yambu

Yambu, or "rumba de cajon"(rumba performed on boxes), the oldest form of rumba still seen in Cuba. The forerunner of the yambu is the Yuka dance. Yambu is a dance representing love, a song of fertility. The man, with the help of soft gestures and disguised hints, symbolically tries to take possession of the woman. But in yambu there is no "vacuum" - "vaccination", a woman can dance in a carefree rhythm, carefree, because she does not have to protect herself from "shots" - characteristic of guaguanco movements of the man's pelvis, a symbolic gesture of the final "mastery". Although the goal of a man (to possess a woman) is the same in yambu and guaguanco, the difference is that in yambu the man remains at the level of hints.

As well as in yamba, theatrical (imitative) rumba ("rumba mimetic") arose during the so-called tiempo españa(times when Cuba was a Spanish colony). While the yambu was a pair dance, during the colonial era its rhythm was the basis of numerous "rumba mimetics" that ridiculed the mores of their time.

Guaguanco. Guaguanco

Guaguanco is the most famous contemporary rumba in the world. It can be argued that the yambu was the predecessor of the guaguanco. Thanks to the popularity of the yambu, structural changes took place in the rumba - in singing and instrumentation. The singing range increased, and the original wooden boxes were replaced with cylindrical drums with membranes made of goat or cow skin. These drums were called tumba, llamador and quinto. One of the most important Guaguanco composers was Alberto Sayas Govin(Alberto Zayas Govin), nicknamed "El Melodioso" ("Melodious"). Born in Matanzas, he grew up in Havana and as a result of serious study of Afro-Cuban rhythms, he became a real expert in rumba.

Alberto Sayas

In the 1950s, Sayas invited Carlos Embale to record some guaguancos as part of the Grupo Afrocubano, Sayas' ensemble. In addition to Embale, Ignacio Pinheiro, Rafael Ortiz and the renowned musicologist Odilio Urfe took part in this project.

Throughout the 50s of the XX century, the rumba flourished in urban "solares"(living spaces organized around a patio) and on centrales azucareros- small factories for processing sugar. Among the most famous places were "El Africa", "Los Barracones", "El Reberbero" and "El Festejo" in Matanzas. Solares were (and still are in some places) places where all the neighbors knew each other personally. Rumba was the most adapted to reality way to have fun - to dance, play instruments, forget at least for a while about hard everyday life - “para olvidar sus penas”. As a rule, chronicles of political and social life acted as themes for the rumba.

"Munequitos" from Matanzas

In 1952, a group of friends from the suburb of Matanzas, a place called La Marina (La Marina) regularly listened to recordings of rumba in the local pub "El Gayo" ("Rooster"), and their spontaneous creative impulse in the rumba ensemble "Guaguanco Matancero" (Guaguancó Matancero). Experienced Musician Florencio Calle Catalino nicknamed Mulense (Mulense) led the newly minted team.

Calle Florencio Catalino

Also in the group were Esteban Lantri "Saldiguera", Esteban Bacallao, Gregorio Diaz, Pablo and Juan Mesa, Ángel Pellado and Hortencio Alfonso "Virulilla".

The Guaguanco Matanceros performed at festivals around Marina and Simpson and in Havana with the famous orchestras of the era, Orquesta Aragon and Arcaño and his 'Magicians'". They took part in radio and television programs with a record label Puchito in 1953 and 1955, and with the Panart label in 1954. Their first 78-rpm record was released in 1954 on the front side of the guaguanco "Los Beodos" ("The Drunkards"), and on the other side was recorded a thing called "Los Muñequitos" ("The Dolls") The plot was based on the then popular Sunday comic series in the Nation newspaper.

"Dolls" played from all the jukeboxes of Matanzas and Havana, becoming a hit on a national scale.

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This name came to be associated with the Guaguanco Matancero band, and it was ultimately decided to keep this option, especially since Los Muñequitos brought the band international success. In addition, this song has become a landmark in terms of the band's unique performing style, and now it is generally perceived as a rumba style from the province of Matanzas.

Standing (left to right): Florencio Calle "Catalino"; Gregorio Diaz "Goyito"; Esteban Vega Bacallao "Chachá"; Pablo Mesa "Papi"; Ángel Pellado «Pelladito». Seated (left to right): Hortencio Alfonso "Virulilla"; Esteban Lantri "Saldiguera"; Juan Bosco Mesa

House of Florencio Calle on Salamanca street in Matanzas. This is the place where "Los Muñekitos" first gathered to rehearse.
Photo: Chuck Silverman, 2008

Arsenio Rodriguez

In 1951, Arsenio Rodriguez received recognition in New York. By that time, he was already known in different countries thanks to his innovations in instrumentation - at the end of the 30s, he added a piano, three pipes, a tumbadora to the ensemble, and made a new Cuban repertoire. His ensemble began to be called "conjunto". Conjunto music eventually became the cornerstone of a period when the world admired the Cuban dream. The phenomenon of the "American rumba" soon arose, generated by the variant of son heard in casinos and cabarets (in English spelling - "rhumba"). Arsenio Rodriguez's introduction of a new instrument, the tumbadora, into the conjunto set a new trend in the performance of such genres as the guaracha, bolero, and mambo. Nevertheless, a distinctive feature of his work was a bright and virtuoso playing on cuban tres, an instrument from the family of guitars with three double (or triple) chords. This instrument is considered the original local synthesis of Cuba's African and Spanish cultural heritage.

Rodriguez included in his tres playing rhythms played in rumba on quinto(solo drum tuned to a high pitch). And this is no mere coincidence. The fact is that Rodriguez was born in 1911 in the province of Matanzas, and many of his peers were the grandchildren of slaves. Rodriguez's grandfather was from the Congo. Little Arsenio became blind when he was 7 years old (due to an injury received from a blow from a mule - approx. per.), but this did not stop him from learning the drums under the guidance of his uncle Guigo. Rodriguez's uncle was not easy - he was part of the pedigree of such Matanzas rumba masters as Malanga, Tanganika, Mulense and Andrea Baro. In addition, Arsenio learned to play other bass instruments borrowed from African traditions:

marimbule(wooden box with metal plates (fleches);

botiche(jug of olive oil, with a hole for playing);

tingo talango(stick with a stretched metal string).

All these instruments are important components of the rumba. Here are some of Arsenio Rodriguez's compositions related to rumba:

"Mulence", which tells about the conversation between two famous Rumberos "Mulence" and "Manana";
"Buena Vista en Guaguancó" ("Great view in Guaguanco") and "Juventud the Cayo Hueso" ("Key West Yus"), dedicated to the areas famous for their rumberos.

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The artistic taste and skill of Arsenio Rodriguez became a legacy in the music of Cuba and around the world, remained in sleepyhead, influenced jazz and survived in salsa.

Puerto Rico

Another reason why rumba found its second home in New York among Puerto Ricans lies in the same roots with the "bomb" from Puerto Rico - both genres come from the Bantu and Dahomey peoples. The Puertoquinian and New Yorker community have absorbed the rumba and combined it with their style and attitude. In the mid-1950s, the great Tito Puente played a leading role in spreading this music. In addition to him, his contemporary, a Cuban, and with his orchestra of "Afro-Cubans" did this.

Rumba studies

Rene Lopez, musicologist

Since the late 1970s, producer and historian Rene Lopez 3 (René López) maintained a close relationship with Cuba, which had a huge impact on the development of rumba in the United States. He traveled around the "Island of Freedom" and unofficially recorded rumba. In this he was helped by the same musicologist Odilio Urfe, as well as Jesus Blanco Aguilar (Jesús Blanco Aguilar). Then Lopez recorded his idols - "Los Muñequitos de Matanzas". These recordings became public and a source of knowledge for New York musicians of the caliber of Andy and Jerry González, Milton Cardona, Frankie Rodriquez, Gene Golden and all those who eventually formed the ensemble "Grupo Folklórico y Experimental Nuevayorquino". At the beginning of their career they were assisted by the legendary percussionists Patato Valdes and Julito Collazo.

Other young musicians, including Eddy Bobbe, Eddy Rodriguez and Felix Sanabria, continued to learn from Lopez's cassettes and listen to holes in the records of that time - all the same Los Muñekitos and Ramón "Mongo" Santamaria. Mongo came to New York in 1950 and recorded Chango Afro-Cuban Drums and Yambú.

Grupo Folklórico proved to be the basis for the modern rumba and Latin jazz craze both in New York and in Havana itself. Subsequent generations of New Yorkers, "newly minted rumberos", continued to train at home and on the street, and even such a famous musician with world fame as Patato Valdez did not shy away from their company. He always came to Central Park to play rumba with the younger generation of musicians. Valdez was famous in Cuba for his technological innovation - it was he who came up with the conga tuning system using a metal rim, fasteners and tension screws.

Rumba sounded everywhere - in Central Park, in Prospect Park, on Orchard Beach, as well as at the intersections and in the bars of the Bronx, El Barrio (Spanish Harlem), Loisaida (Lower East Side and Alphabet City). It has become a hallmark of the Hispanic diaspora in New York.

National Folklore Ballet

In 1980, Kiki arrived in New York and a year later captivated the audience with his dangerous and acrobatic choreography as part of the local rumba ensemble "Chevere Macunchevere", assembled in September 1980.

Uncle Tom

The Chavalonga family was from Atares, a well-known area, Mekki rumberos, from the same place was (), known as Tio Tom ("Uncle Tom") 4. In addition to Mulense, Asensio is regarded as the most prolific rumba composer of his time - he authored more than 200 rumbas, including a provocative piece. "A donde estan los Cubanos?"("Where are the Cubans?"), Mi Tierra("My land"), "No Me Culpes A Mi"("Don't Blame Me", vocals by Roberto Maza), and debut rumba Mujer de Cabaret("The Woman from the Cabaret").

1960s

Since the 1960s, the rumba has become the basis for the development of different styles and new rhythms, allowing each group to express their special features. In Havana, Papin and his rumberos, later known as Los Papines, presented to the public duet Fijo and Alejo (Fijo y Alejo), performing songs in the Spanish style. Rumba also influenced other rhythms: "Mozambique" Pello el Afrokan, Luis Chacon's worldview "Aspirina" brought up in Guanabacoa, rhythm guapara Tato created in La Perla as well guaguanco Johnson from El Perro, using a guitar. In 1957, in Matanzas, a musician named Francisco "Minini" Zamora founded a group Afrocuba de Matanzas, and in the early 70s, Los Muñekitos reasserted themselves, demonstrating the complex and careful study of voices and percussion - continuing to improve their style to this day.

Rumba outside of Cuba is marked in the history of New York by the waves of emigration of Cubans from the Island, mainly during the "exodus from Mariel Bay". In addition, professional umberos constantly came to the Big Apple in search of fertile ground for experiments. Thanks to the events in the Mariel Bay in New York, such rumberos appeared as Manuel Martinez Olivera ( - "The Lonely Wanderer"), El Tao la Onda (El Tao la Onda - "Wave of Tao"), Daniel Ponce ( Daniel Ponce), Orlando "Puntilla" Rios and Xiomara Rodriguez.

Another famous woman - Maria Carballo (Maria Carballo) was a respected leader compass La Guarachera de Pueblo Nuevo, where Manuela Alonso, mother of one of Colombia's three greatest dancers, Orlando el Bailarín, sang and danced. During the carnival in the Presidential Tribune, where the most famous Rumberas women came from all the surrounding provinces, in the performance of this compass elements of rumba choreography were used. The judges of the carnival analyzed the parade, sitting on the presidential platform.

Aspirin family

Perhaps the most typical representatives of the tradition can be called the Aspirin dynasty. All of them - rumbero completeto, i.e. master all aspects of rumba. In their own words, "Lo mismo te la cantan, que te la bailan, que te la tocan!"(“just as we sing, we dance and play”) Aspirinas have essentially become an academy for rumba and various Cuban religious practices such as Regla de Ocha, Palo Mayombe and Abaqua. For example, Pedro Pablo Rodríguez Valdés is currently acting director of the prestigious Coro Folklórico Cubano. Luis Chacón has his own dance academy and is also known for inventing the colombia style of rumba using knives. Another Aspirin, Mario Jauregui has already become a legendary bata and quinto player. Singer Miguel Angel Mesa Cruz, "el caballero de la rumba" - "Rumba cowboy", has the title "columbiano mayor", which means "the best of the best". His elegance fills the stage, his gift is a high-pitched voice and the ability to flexibly improvise in desims, combining Spanish with the languages of the Congo and Abaqua. Controversy and argument are the driving force behind Colombian rumba: a verbal brawl between the singer who opens the theme and the vocalists who pick it up, answering each other with rhymed verses and/or desims.

International rumba movement

In 1992 Los Muñequitos de Matanzas made their first ever US tour lasting 9 weeks. It was the longest tour ever undertaken by Cuban musicians at the time. In Boston they recorded "Vacunao" on the Qbdisc label, produced by Ned Sublett. In 1996, Quinto, along with Lazaro Riso (Lazaro Riso), Octavio Rodriguez (Octavio Rodríguez), Juan "Chan" Campos (Juan "Chan" Campos) and Omar Sosa (), along with other musicians, recorded in Havana (and released in San Francisco) Quinto's sound experiments entitled "En el Solar la Cueva del Humo" ("In the space of a cave full of smoke", 1996). The album was produced by Greg Landau and labeled by Round World Music.

Another active group of people should be mentioned: John Santos, Michael Spiro, Jesús Díaz and the late Jerry Shilgi of the San Francisco Bay Area. They developed the rumba on the West Coast of the United States, performing on various projects and collaborating with Cuban musicians from the Island, including Regino Jiménez and Lazaro Ross, and from the Cuban diaspora with Roberto Borrel.

Another rumba classic was Rapsodia Rumbera, produced by Gregorio "Goyo" Hernandez and released on the Egrem label. In addition, under the musical direction of Goyo, the CD “Rumba is Cuban history” (“La Rumba es Cubana Su Historia”) was released, supervised by Elio Orovio, from the Cuban label Unicornio. The CD features musicians from various generations of rumba, including the great Mario Alfonso Dreke "Chavalonga", Abreu, you can hear the guarapachangeo of the Chinitos brothers, as well as the legendary women - Guillermina S. Armenteros and Susana "Baby" Calzado (Guillermina Z. Armenteros and Zuzana "Beba" Calzado).

Peñas

Since the late 1980s penny became popular public places in Havana where one could listen and dance the rumba performed by famous bands. Peñas in Cuba (they are related to historical peñas in the 60s of the XX century in Chile, Uruguay and Argentina, but are still something else) - these are usually cultural events that begin in the early evening, usually on weekends, nearby with small clubs or houses of culture. important role in the development penny played by the CFN National Folk Ensemble. Under their auspices and based in Vedado, the so-called "Rumba Saturday" - "Sabado de la Rumba" takes place every Saturday. This peña is the source of energy for another event - on Tuesdays, in Old Havana at El Liceo, Andres Bayoya (Andres Bayoya) holds street concerts where they play and dance the rumba. The Carnival Commission was forced to classify the Bayoya Percussion Orchestra as a participant in the processions of traditional comparsas during the Carnival in Havana.

While Daniel Ponce was in Cuba, he was a member of the School in Old Havana - El Liceo de la Habanera Vieja. The events organized there paved the way for performances that we now know as "rumba peñi". Cultural houses (both physical buildings and cultural associations at the district level) together created rumba festivals in the center of Havana and in Old Havana - there the legendary rumbero Julio Cesar "Wuasamba" (Julio Cesar "Wuasamba"), the inventor of rhythm voisamba, also discovered and mastered the rhythms of guarapachangeo. His friend, and part-time another famous rumbero, Evaristo Aparicio, nicknamed "The Dodger" (Evaristo Aparicio "El Picaro"), founded the group Papa Kun Kun, and many hits belong to him, including "Si a una mamita", which was covered by Puerto Rican ensembles like Batacumbele.

The Yoruba Andabo Peñas were held with the participation of Eloy Machado, a rumba poet known under the pseudonym "The Friend" ("El ambia"). In 1988-1989, during the carnivals, he organized the event "El solar del ambia". After the carnivals ended, his event was given official status in the "Jardines de la UNIAC" ("Fair of the Union of National Cuban Artists"), becoming a kind of springboard for various famous and emerging ensembles.

Another iconoclast named Salvador González is responsible for the stump and art gallery Callejón de Hamel, located in the Cayo Hueso area. The opening took place thanks to Merceditas Valdez and the Yoruba Andabo Ensemble on April 21, 1990.

However, the concept rumba penyi went beyond the borders of Cuba, and in the United States, perhaps the most typical venue for such events is Union City, New Jersey. Club "La Esquina Habanera" (now closed) for a long time became a meeting place for rumberos and rumberas, locals touring the United States, or simply visiting the country as tourists. The club's house band Raices Habaneras was nominated for a Latin American Grammy in 2003. The owner of the club - Tony Sequeira (Tony Sequeira) - gathered his group on March 23, 1996, David Oquendo was the music director. The energy of this place was replenished thanks to the professional rumberos who came from Cuba - Frank Bell, Pedro Pablo Martinez, Roman Diaz () and many others.

Summary

Rumba is a daily tradition, a secular, shared spiritual experience, an event. Rumba has the ability to rejuvenate during the action; it changes and transforms, connecting with other rhythms. The genre remains attractive not only to Cubans of all ages, but to Latin Americans in general, whose native rhythms somehow reveal African influences. Every year, Europeans and Asians travel to Cuba to work and study at the National Folklore Ensemble and the National School of Arts. Many living rumba legends eagerly share their deep knowledge with musicians, dancers and scientists around the world.

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Acosta, Leonardo.“The Rumba, the Guaguancó, and Tío Tom.” In Essays on Cuban Music, edited by Peter Manuel. New York: University Press of America, 1991.

Carpentier, Alejo. Mexico City: Fondo de Cultura Economica, 1993.

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rumba) - this word has two different meanings.

One of them refers to the direction of dance and music, born in Cuba. The most famous of these is the rumba Guaguanco. Rumba Yambu and rumba Columbia are also popular. Each of these types of rumba has its own style of music and dance, but in general they are very close.

Another meaning has appeared relatively recently and refers to a dance from the ballroom dance program, which is included in the competition program. In this sense, the rumba is the slowest of the five dances of the competitive Latin American program (the other four are paso doble, samba, cha-cha-cha and jive). The rumba dance and music from the competitive Latin American dance program is derived from Cuban musical styles and bolero and son dances.

Rumba style

Rumba and cha-cha-cha

Chachacha Monkey Initially, there was no clear separation between the rumba danson and cha-cha-cha dances, because of which all music that characteristically beat the first beat (a few beats from the beat leading to the first beat) fell under the category of rumba. Over time, the dances were clearly divided. The music of the rumba danson acquired a slower tempo, began to be composed, as a rule, in a minor mode, and acquired its beat on the first beat (drums: eighth, eighth, eighth, quarter - first beat). Cha-cha-cha music has become faster, is composed both in major and minor modes and has its own, very pronounced and emphasized playing of the first beat (eighth, eighth, quarter - first beat, the so-called "cha-cha-cha" or "cha-cha-time").

In this regard, many of the rumba famous in the past from a modern point of view should be considered rather cha-cha-cha or even cannot be clearly classified as one of these dances at all. So, for example, the famous melody "Cucaracha", which was considered a rumba, is neither it nor cha-cha-cha from a modern point of view. Guantanamera is better known for the cha-cha-cha rather than the rumba.

Thus, the rumba owes its birth to religious rituals, it developed on the basis of pronounced rhythms and choral voices. You can also say that to some extent all the dances that were created by the Cubans are rumba.

Currently, this dance is known on all continents. First he came to the cabaret, and then to television. There is a ballroom rumba, but it differs significantly from the authentic Cuban version.

Rumba types

At the beginning of the 19th century, there were three variants of the rumba in Cuba, but the Guaguanco rumba, a dance during which the gentleman follows the lady in search of hip contact, and the lady tries to avoid it, became widely known. In this dance, the lady is, as it were, the object of impudent courtship and tries to restrain the passion of her partner. Perhaps because of this, the name “dance of love” stuck behind the rumba.

Also in Cuba, there were various types of rumba, which were danced at holidays and just gatherings of people on the street. A prominent representative is Rumba Mimetika, which depicts various scenes from the life of ordinary people (Papilote, Mama "buela, Gavilan)

Rumba underwent a radical evolution when it was exported to the USA. Along with the expansive, erotic Cuban, American Rumba appeared - with more restrained movements and style. It was this version of the rumba that spread throughout the world, winning the hearts of several generations of dancers and connoisseurs of Latin American culture. Guaguanco mainly consists of African drum rhythms, which are overlaid with a clave rhythm representing a shifted accent known as 3-2. Singing without musical accompaniment resembles old Spanish melodies that are superimposed on the rhythms of African drums. Guaguanco is performed by one or more soloists, the theme and words are invented in the course of the song. The structure of the guaguanco rhythm is most often based on the Rumba Son rhythm.

Rumba in academic music

Rumba was used in some works by composers of the 20th century, for example, in D. Milhaud's ballet Creation of the World (1923) and in the finale of his Second Piano Concerto.

The emotional content of the dance

An excerpt characterizing Rumba

- What hurts? - asked the soldier, shaking his shirt over the fire, and without waiting for an answer, grunting, added: - You never know they spoiled the people in a day - passion!
Rostov did not listen to the soldier. He looked at the snowflakes fluttering over the fire and recalled the Russian winter with a warm, bright house, a fluffy fur coat, a fast sleigh, a healthy body, and with all the love and care of the family. "And why did I come here!" he thought.
The next day, the French did not resume their attacks, and the remnant of the Bagration detachment joined Kutuzov's army.

Prince Vasily did not consider his plans. He even less thought to do evil to people in order to gain an advantage. He was only a secular man who had succeeded in the world and made a habit out of this success. He constantly, depending on the circumstances, on rapprochements with people, drew up various plans and considerations, in which he himself did not fully realize, but which constituted the whole interest of his life. Not one or two such plans and considerations happened to him in use, but dozens, of which some were just beginning to appear to him, others were achieved, and still others were destroyed. He did not say to himself, for example: “This man is now in power, I must gain his trust and friendship and through him arrange for a lump-sum allowance,” or he did not say to himself: “Here, Pierre is rich, I must lure him to marry his daughter and borrow the 40,000 I need”; but a man in strength met him, and at that very moment instinct told him that this man could be useful, and Prince Vasily approached him and at the first opportunity, without preparation, instinctively, flattered, became familiar, talked about that, about what was needed.
Pierre was at hand in Moscow, and Prince Vasily arranged for him to be appointed to the Junker Chamber, which then equaled the rank of State Councilor, and insisted that the young man go with him to Petersburg and stay at his house. As if absent-mindedly and at the same time with undoubted confidence that this should be so, Prince Vasily did everything that was necessary in order to marry Pierre to his daughter. If Prince Vasily had thought ahead of his plans, he could not have had such naturalness in his manner and such simplicity and familiarity in dealing with all people placed above and below himself. Something constantly attracted him to people stronger or richer than him, and he was gifted with a rare art of seizing precisely that moment when it was necessary and possible to use people.
Pierre, having unexpectedly become a rich man and Count Bezukhy, after recent loneliness and carelessness, felt himself surrounded and busy to such an extent that he only managed to remain alone in bed with himself. He had to sign papers, deal with government offices, the meaning of which he did not have a clear idea, ask the general manager about something, go to an estate near Moscow and receive many people who previously did not want to even know about its existence, but now would be offended and upset if he did not want to see them. All these diverse faces - businessmen, relatives, acquaintances - were all equally well, affectionately disposed towards the young heir; all of them, obviously and undoubtedly, were convinced of the high merits of Pierre. Incessantly he heard the words: "With your extraordinary kindness" or "with your beautiful heart", or "you yourself are so pure, count ..." or "if he were as smart as you", etc., so he he sincerely began to believe in his extraordinary kindness and his extraordinary mind, all the more so since it always seemed to him, in the depths of his soul, that he was really very kind and very clever. Even people who were previously angry and obviously hostile became tender and loving with him. Such an angry eldest of the princesses, with a long waist, with her hair smoothed like a doll's, came to Pierre's room after the funeral. Lowering her eyes and constantly flashing, she told him that she was very sorry for the misunderstandings that had been between them and that now she did not feel entitled to ask anything, except for permission, after the blow that had befallen her, to stay for several weeks in the house that she loved so much and where made so many sacrifices. She could not help but cry at these words. Touched by the fact that this statue-like princess could have changed so much, Pierre took her by the hand and asked for forgiveness, without knowing why. From that day on, the princess began to knit a striped scarf for Pierre and completely changed towards him.
“Do it for her, mon cher; all the same, she suffered a lot from the deceased, ”Prince Vasily told him, letting him sign some kind of paper in favor of the princess.
Prince Vasily decided that this bone, a bill of 30 tons, should still be thrown to the poor princess so that it would not occur to her to talk about the participation of Prince Vasily in the case of the mosaic portfolio. Pierre signed the bill, and since then the princess has become even kinder. The younger sisters also became affectionate towards him, especially the youngest, pretty, with a mole, often embarrassed Pierre with her smiles and embarrassment at the sight of him.
It seemed so natural to Pierre that everyone loved him, it would seem so unnatural if someone did not love him, that he could not help but believe in the sincerity of the people around him. Moreover, he did not have time to ask himself about the sincerity or insincerity of these people. He constantly had no time, he constantly felt himself in a state of meek and cheerful intoxication. He felt himself to be the center of some important general movement; felt that something was constantly expected of him; that if he didn’t do this, he would upset many and deprive them of what they expected, but if he did this and that, everything would be fine, and he did what was demanded of him, but this something good still remained ahead.
More than anyone else in this first time, both Pierre's affairs and himself were mastered by Prince Vasily. Since the death of Count Earless, he has not let go of Pierre. Prince Vasily looked like a man weighed down by deeds, tired, exhausted, but out of compassion he could not finally leave this helpless young man, the son of his friend, apres tout, [in the end] and with such a huge fortune to the mercy of fate and rogues. In those few days that he spent in Moscow after the death of Count Bezukhy, he called Pierre to him or came to him himself and ordered him what needed to be done, in such a tone of fatigue and confidence, as if he always said:
"Vous savez, que je suis accable d" affaires et que ce n "est que par pure charite, que je m" occupe de vous, et puis vous savez bien, que ce que je vous propose est la seule chose faisable. You know, I'm overwhelmed with business; but it would be ruthless to leave you like that; of course, what I'm telling you is the only possible one.]

Rumba appeared in Cuba in the 19th century. Like many Latin dances, rumba was the result of a mixture with European country dancing. It is possible that the name of the dance comes from the name of the dance orchestras - "rumboso orquestra". "Rumbo" in Spanish translates as "path", and the word "rumba" - "small pile". Either of the two words could be used to describe the dance. Dance music has two sources - Spanish motives and African rhythms. Although the choreography of the dance is Cuban, however, some movements were born on other islands of the Caribbean.

Initially, rumba is a pantomime that speaks of the relationship between a man and a woman. Sung at a fast pace with characteristic erotic hip movements, she told us a love story. The rhythmic pattern was usually set by such musical instruments as maracas, claves, maribola, and drums. The village dance form in Cuba itself is reminiscent of the mating dances of animals and looks more like a performance than a dance. The movements of the shoulders and sides in the dance are an imitation of the walking of slaves with a heavy load in their hands. The movement of the "cucaracha" imitated the crushing of insects. Turns in the dance were performed daringly around the rim of the cart wheel!

The rumba version, which is still danced in the United States to this day, appeared in the States in the 1930s. It has absorbed elements of the rural Cuban rumba from the guaracha and the Cuban bolero. A little later, dance movements “son” and “danson” were added to it. "Sleep" is a dance of the middle stratum of Cuban society, and the dance "Danson" is a dance of the wealthy class. The first was slower than the Cuban rumba and the movements were decent. The second one is even slower, because of the small steps, the ladies almost did not work their hips, but they carefully worked out the movement of their legs, showing their harmony and length.

The first major attempt to make rumba popular in the United States was in 1913. Ten years later, Emile Coleman specially invited dancers and musicians who know and play rumba well. And in 1925 a club was opened where one could listen and dance the rumba.

Rumba came to Europe thanks to the efforts and enthusiasm of the famous English dance teacher Pierre Lavelle. It turned out that rumba in Cuba is performed with an emphasis on the second beat, and not on the first, as in the American rumba. This version of the technique with the names of the basic figures obtained in Havana in 1947. he began teaching in London. Pierre and his wife Doris began to perform a lot with demonstration lessons and rumba performances in England.

Pierre Lavelle showed the real "Cuban Rumba", which, despite heated debate and controversy, was recognized and standardized in 1955.

In modern rumba there are figures in which there is a desire of a woman to prevail over a man with the help of charm. During the dance, there is always a moment when the lady “teases” the gentleman and then runs away. To the passionate movements of his partner, the man, with his movements, shows the desire to possess her, tries to prove his leadership.

Rumba is a dance that causes an emotional outburst, it combines insane passion and mind control, the fire element rages in it, and it is opposed by cold determination, all this is just a small list of emotions that arise in the soul of any person familiar with this energetic dance.

Rumba was first mentioned at the beginning of the 19th century. The mixture of percussive rhythms, dances and songs was born in Cuba. He is of African descent. However, this ritual dance, which came from Africa, has undergone many changes, but most importantly, the “soul of the dance” has remained the same. Wild, smooth, erotic movements became more and more popular, they fascinated the viewer. "Rumba" was considered the dance of love. After all, only this dance combines smooth movements and dramatic music, and all this gives a unique aesthetic effect. Many believed that the dance was an expression of erotic feelings, but in fact the rumba was a wedding dance and its movements symbolized the family responsibilities of husband and wife. The very first and rather serious attempt to introduce "Rumba" to the masses was made in 1913 in the USA. But, unfortunately, she, like all subsequent ones, failed. It wasn't until 1929 that people got a real interest in Latin music. However, the dance also underwent changes, the so-called American rumba appeared, it was distinguished by more restrained movements and style. It was this dance that spread throughout the world. In Europe, "Rumba" came only after the end of the Second World War. There, the dance rapidly gained popularity and attracted more and more fans. The brightest and most emotional dances are presented in the Latin American and European programs. There are five dances in the Latin American program, and the dance about difficult love, which is so loved by many and has become very popular today, takes its place of honor. The unique African rhythm, instincts coming from antiquity and a real spiritual impulse - all this makes the hearts of fans beat in unison for many years. The most famous tune for "Rumba" written by Joséit Fernandez and called "Guantanamera" became a rumba classic. Several modern melodies are written in major, they are certainly original in their own way, but do not leave such a deep impression.

Today, the Rumba dance has undergone changes, it has been standardized, made more categorical and strict. Dance is officially considered to be the cultural heritage of the Cuban people.