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Music in Cuba
In 1997, Buena Vista Social Club exploded on the international scene with records and the documentary film of Wim Wonders. In their 70s and 80s, singers Cam pay Segundo and Ibrahim Ferrer and pianist Ruben Gonzalez suddenly became world stars. They reintroduced Europeans and Americans to the magic of Afro-Cuban music. The richness of Cuban music derives from its mixture of African and Spanish rhythms and instruments. The first European music that African slaves encountered in Cuba was that of the Catholic Church and of Spanish military brass bands. To this was added the fiery drum rhythms learned in Africa, mostly in the Congo and Nigeria. The music was further enriched in the 17th century with the introduction of the Spanish Zarzuela, a popular musical play using folk songs for winy and satirical treatment of everyday life. Between acts of the musical melodramas, the old satirical tornadilla songs were given a frankly erotic twist by guaracheros who specialized in sexual innuendos. Occasionally, a touch of bucolic “innocence” was added by guajiro peasant songs created by workers on the sugar and tobacco plantations. Spanish colonial musicians such as 19th-century composer- pianist lgnacio Cervantes spiced up traditional danzón folk-dances with Afro-Cuban rhythms. The most famous was his Habanera. In the 20th century, Amadeo Roldan included instruments of African origin in his symphonic orchestra. By the 1 930s, Ernesto Lecuona, whose talents had attracted the attention of composers Maurice Ravel and George Gershwin and pianist Arthur Rubinstein, introduced the world to Afro-Cuban jazz with his band, the Lecuona Cuban Boys. To the Spanish lute and guitar, Afro-Cuban musicians added the three-stringed Tres and a whole panoply of percussion instruments for the all-important rhythm section: bongo, Udu and Conga drums; the marimbula, a xylo phone plucked rather than hammered; claves, a pair of cylindrical hardwood sticks tapped one on the other in the palm of the hand; maracas rattles and ser rated güiros fashioned from hollow gourds. The romantic trova ballad had its beginnings in Santiago de Cubo, usually sung as a duet of trovadores, with a melancholy homespun philosophy. The best known is Guantanamera. More properly Guajira Guantamero (Guantánamo Peasant-Girl), this most famous of all Cuban songs, composed in 1929 by Joseito Fernández, later had text added from José Marti’s 1891 Versos Sencillos. At the origin of practically all contemporary Cuban dance music is the son created in the 1 920s the mountains of Oriente province and the streets of Santiago. Classically, the songs are an exchange, often improvised, between soloist and the musicians’ choral back-up. Typical is Corn- pay Segundo’s Chan Chan, now rivalling Guantanamera in popularity in Cuban bars. The rumba, born in the back- street slums of Havana and Matanzas and popularized in New York in 1 920s, had its beginnings religious rituals of the santeria, where tune was less important than strong rhythm. Since, for white American tastes, Cuban rumba was felt to be too erotic in its slow yambó form or frenzied guagancó, Cubans proposed the more sedate mambo and cha-cha cha in the 40s and SOs. Today, purists scorn the ever-popular salsa as a hybrid combination of Cuba’s lyrical son with American jazz and rock’n roll, forgetting the mixed African and Spanish origins of all Cuban music. Even when music isn’t pouring out of a cassette recorder on the balcony, Afro-Cuban rhythms seem to punctuate conversation and even moments of silence, when the islanders may start to sway their shoulders and hips or shuffle their feet to the imagined beat of a salsa, mambo, rumba or cha-cha-chá. If Mexico and Brazil are the Cubans’ favorite Latin American countries, it’s because of the shared taste for their music, drawing on Spanish, African and distant, but never entirely lost, American Indian roots. Even when life is at its toughest, the Cubans find time for a party in a backyard or down at the beach—and happily invite curious passers-by, who make themselves even more welcome when they bring a bottle of rum.
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