538:
487:,â that strident group of drums, frying pans and shrieks, to whose sounds epileptic, ragged, semi-nude crowds run about the streets of our metropolis, and who, between lubricous contortions and abrupt movements, show a lack of respect to society, offend morality, discredit our customs, lower us in the eyes of people from other countries and, what is worse, by their example, contaminate schoolchildren, who I have seen carried away by the heat of the lesson, panting and sweaty, engaging in frenetic competitions in corporal flexibility in those shameful tourneys of licentiousness.â (PĂ©rez I 1988:337)
474:âI will have you know that the initial days of our traditional masquerades – which have just passed – have left painful impressions in my mind. Allow me to explain. In every way, the carnival has been a joyful celebration of the soul of the people, an exhibition of good artistic taste, a competition of original ideas, a contest in which thought and action have always vied in giving objective form to the perfect conception of Beauty and towards the noble intent of the dignification of society; Paris, Rome, Venice, Madrid and Havana itself offer in their
780:(Brea and Millet 1993:198), first mentioned in writing as early as 1931 (PĂ©rez II 1988:9), is shaped somewhat like a snare drum- about 50% wider than it is tall. It is hung from the left shoulder with the top of the drum slightly skewed to the left and is played with a stick on the right-hand skin while the left hand mutes or opens the left-hand skin. Its part is simple with few variations. The
961:
283:
670:(Brea and Millet 1993:181), which are instruments of metal struck with metal beaters. Preferably, brake drums from older model American vehicles (1950s or older) are used. Originally, before brake drums were available, frying pans were used (PĂ©rez I 1988:310, PĂ©rez II 1988:23, etc.) and possibly plow blades as well (PĂ©rez I 1988:106 and 134).
311:(summer festivals in Santiago de Cuba) as early as 1847 (PĂ©rez I 1988:54). A word that may be synonymous with "tumba" is the word "tango", mentioned as early as 1856 (PĂ©rez I 1988:79). Unfortunately, most 19th-century writers were extremely negative towards Afro-Cuban culture and little information about the tumbas or tangos was recorded.
331:). According to the rules of Spanish grammar, "congo" became a masculine noun/adjective and its feminine counterpart was formed by changing final "o" to "a." This Spanish noun/adjective pair has been used in Cuba to designate anything pertaining to the above-mentioned African slaves and their culture. Therefore, some have assumed that "
633:
307:) is obscure and its origins remain largely unknown. In the early 19th century, although the word "conga" is not found in written sources, there are references to "tumbas", and, according to Brea and Millet (1993:204), "tumba" refers to the percussion ensemble of the conga. "Tumba" is mentioned in connection with
927:), if the right foot starts on the first eighth note of the first measure, then the left foot steps on the third eighth note of the first measure, the right again on the first eighth note of the second measure, the left on the third eighth note of the second measure, and so on. This basic step is called the
756:, with or without exact Bantu morphological antecedents, is an unusual type of drum in Cuba; but was adopted by the Cubans when, upon the prohibition of African drums, they resorted to new types of drums which, due to their unaccustomed appearances, were not imputable to Africans.â(OrtĂz II 1952-5:36)
478:
lessons on how complaisant liberty ought to be used in those periods of fantasy in order to educate the wishes and aspirations of the citizen. But here, in our city, in one of those scientifically inexplicable regressions towards a dark past, certain elements of our commonwealth seem committed
950:
699:
is a single-headed drum, skin nailed to the shell, shell open at one end, long, shaped like a conic section and made of staves with iron hoops that circle them and hold them together. They are heated with fire and played with both hands and no sticks. The musician or
515:
drives me crazy. Several days prior to the beginning of rehearsals, I went to see a doctor; I felt overwhelmed, sad, pensive. He prescribed and gave me some injections, and I felt absolutely no different, but as soon as I heard the sound of the first
1162:, because of the way of dancing forward, always shuffling the feet, while performing movements of the waist, arms, head and the body as a whole and from this, one says that a person who performs the latter is
1287:
_______________. 1952â5. Los
Instrumentos de la musica afrocubana II. La Habana: Ministerio de EducaciĂłn (Fernando OrtĂz Foundation facsimile reprint of five-volume original edition in two volumes, 1996).
1276:
_______________. 1952â5. Los
Instrumentos de la musica afrocubana I. La Habana: Ministerio de EducaciĂłn (Fernando OrtĂz Foundation facsimile reprint of five-volume original edition in two volumes, 1996).
856:
in
Chinese, was brought to Havana in the 19th century by Chinese immigrants. It was being used to play traditional Chinese music in the Chinese theaters in Havana's Chinatown, when an Afro-Cuban
226:
Congas and comparsas have a long history which dates back to the 19th century, with musical traditions being passed down from one generation to the next. The older comparsas are derived from
458:
was a thing of the illiterate Afro-Cuban working people, while the writers of editorials and angry letters to the editor were upper-class
Hispano-Cubans. One prominent attacker of the
405:
In the early years after the establishment of the
Republic of Cuba in 1902, there were numerous decrees by successive mayors of Santiago de Cuba banning "African drums and
935:
126:
and the music they play. Comparsas are large ensembles of musicians, singers and dancers with a specific costume and choreography which perform in the street carnivals of
792:, except that they are hung from the shoulders in such a way that the skins are nearly horizontal to the ground. The higher pitched of the two is called a
238:(neighbourhoods). The music of the congas has become a genre itself, being introduced into Cuban popular music in the early 20th century by artists such as
816:
This drum plays a basic pattern with few variations. All three of the drums utilize a metal hardware system for attaching the skins to the drum shells.
655:(1838â1912), an Englishman who lived in Santiago de Cuba from 1864 to 1869, left what may be the earliest written description of the instruments of the
417:
echoed loudly everywhere, including in the most central and heavily-traveled areas. And together with the raucous and uncouth sound of the
African
507:
starts. How it torments me to think that there are still so many days to go; I wish it were tomorrow;... I want you to know... that the sound of the
437:
were permitted. In reality, it was just a question of maintaining on paper that which could not really be enforced due to the express desire of the
520:, I was completely cured, I felt strong and ready for anything. And I advise those who are unhappy and listless to get an invigorating injection of
1246:
796:(Brea and Millet 1993:197). It measures approximately 2 feet in diameter and 5 inches high. In addition to its basic pattern, there are many
946:
There are many variations on the basic step, as well as simple figures such as "kick," "single turn," "cutting sugar cane," "shining shoes," etc.
1097:
1346:
545:
1221:
348:
724:
play simple interlocking parts with few variations (however, the sum of the parts results in quite a complex drum melody). A smaller
499:ââŠLet the hours, the minutes and the seconds pass as they will, as long as they do so as quickly as possible so that I can slap that
1166:. By semantic extension, anything that goes forward without being stopped by any obstacle whether material or of any other kind.â
1154:, etc., orchestrated in a very distinct style by musicians that sometimes improvise, going in front of or in the center of the
483:– to the repugnant task of checking human progress and causing harm to Civilization with their excesses. I refer to the â
1311:
884:
to incorporate its use was Paso Franco in 1915 (del Carmen et al. 2005). By 1924, it was a well-established feature of the
597:
in 1916 (del Carmen et al. 2005), one year after the instrument was introduced by the conga Los
Colombianos from TĂvoli.
191:
but include trumpets, trombones and saxophones, and they have a different set of percussion instruments: redoblantes (
1339:
1293:
1282:
1271:
1261:
1214:
1050:
319:"Congo" was the word used to designate African slaves brought to Cuba from the Congo region of Africa (currently the
788:- Orovio 1981:186) are like bass drums, but flatter. They are both played with a stick in a manner similar to the
324:
17:
1188:
meaning a kind of Afro-Cuban drum is used in 19th century documents, but, if OrtĂz is correct in saying that the
583:(automobile brake drums or other pieces of metal chosen for their distinct sound qualities). Also added were the
548:
is a district in downtown
Santiago de Cuba and home to the conga of Los Hoyos. The date of the founding of this
441:, to whom these manifestations were a diversion, âsomething colorfulâ and amusing.â (PĂ©rez I 1988:179, note 13)
1332:
1009:
608:," in which it marches around the streets of Santiago and visits the neighborhoods where the other famous
1068:
Millet, José and Brea Rafael 1989. Del carnival santiaguero: congas y paseos. In Oscar Ruiz
Miyares (ed)
764:(Brea and Millet 1993:200), mentioned in documents as early as 1916 (PĂ©rez I 1988:217) There are three
537:
1175:
Their names are San AgustĂn, Guayabito, Alto Pino, Paso Franco and San
Pedrito (del Carmen et al. 2005)
463:
212:
888:(PĂ©rez; I 1988:310). Today, the sound of this instrument is recognized by Cubans as the symbol of the
839:, are âwhiteâ imitations of drums whose African morphology has been disguisedâ (OrtĂz II 1952-5:242).
617:
708:
Nowadays, the skin is usually held on by a metal hardware system similar to that of the commercial
1219:
1253:
FernĂĄndez, MarĂa Antonia. 1974. Bailes populares cubanos. La Habana: Editorial Pueblo y EducaciĂłn
1225:
1110:
931:
The arms are bent at the elbow and swung opposite to the rhythm of the feet (FernĂĄndez 1974:91).
652:
366:
864:("lead singer"). Although it was very difficult for anyone not standing within ten feet of the
1507:
1502:
880:
was brought to Santiago de Cuba by soldiers of the Cuban army (OrtĂz II 1952-5:451). The first
35:
1266:
OrtĂz, Fernando. 1924. Glosario de afronegrismos. La Habana: Editorial de Ciencias Sociales.
979:
704:
carries the drum on his left side, hung over the shoulder with a strap.â (OrtĂz II 1952-5:34)
320:
1256:
Orovio, Helio. 1981. Diccionario de la mĂșsica cubana. La Habana, Editorial Letras Cubanas.
208:
1301:
____________. 1988. El carnaval santiaguero, Tomo II. Santiago de Cuba: Editorial Oriente.
8:
1371:
1324:
1298:
PĂ©rez, Nancy. 1988. El carnaval santiaguero, Tomo I. Santiago de Cuba: Editorial Oriente.
812:(OrtĂz II 1952-5:242). It measure about 2 inches larger in each dimension than the
470:), who expressed the feelings of some upper-class Cubans in a newspaper article of 1925:
243:
1436:
1240:
1192:
were invented around the turn of the century, it must have been a different instrument.
1091:
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originates and is found only in the cities of Oriente, permits one to suppose that the
1289:
1278:
1267:
1257:
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is danced with small sliding steps, advancing alternately. Imagining two measures of
872:, due to its peculiar raucous and nasal sound, could usually be heard by the entire
409:". (PĂ©rez I 1988:177, etc.) Apparently, these decrees were not faithfully enforced:
30:
This article is about the music ensemble and genre. For the musical instrument, see
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1381:
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106:
247:
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were replaced by frying pans. Later still, the frying pans were replaced by the
462:, and perhaps the most florid in his prose, was the long-time mayor of Santiago,
659:: â⊠an odd orchestra composed of drums, frying pans, tin utensils, graters and
355:
155:
71:
552:
is unknown, but it was already in existence in 1902 (del Carmen et al. 2005).
511:
nourishes me, the sound of the frying pans gives me life and the sound of the
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1456:
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593:
239:
196:
176:
79:
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1220:
del Carmen, Maria, HernĂĄndez, Yohemis and GonzĂĄlez, Carlos Alberto (2005).
736:
plays complex off-beat figures and improvisations. According to Ortiz, the
354:
may also derive from either "maconga" (song) or "nkunga" (song, sound) in "
31:
1411:
1121:(âMasquerades in Santiago de Cubaâ), is reproduced in PĂ©rez I 1988:97-106.
850:(literally âChinese trumpet/bugleâ). This double reed instrument, called
1471:
1466:
263:
259:
220:
171:
in 1915, and its percussion section comprises bocĂșes (similar to African
616:" commemorates the invasion of the Army of Liberation at the end of the
433:âAlthough the prohibition of African manifestations was reiterated, the
1461:
1205:
Brea, Rafael and Millet, José. 1993. Glossary of popular festivals. In
709:
467:
267:
216:
200:
83:
666:
The present-day instruments fall into four categories. First are the
365:(one of the instruments of the conga) is "...typical of the congos."
1401:
1321:
performed by Santiago de Cuba's foremost professional folklore group.
204:
192:
1451:
1396:
1441:
1416:
957:
A common variation on the above variation is to eliminate the tie.
528:
and frying pans and youâll be OK in 24 hours.â (PĂ©rez II 1988:22-3)
255:
251:
203:), quinto, tumbadora (the lowest pitched conga drum), and metallic
123:
1481:
1446:
744:
when African drums were banned in the early years of the Republic.
1391:
960:
394:
179:(highest pitched conga drum), galletas and the pilĂłn, as well as
949:
679:
75:
1366:
934:
362:
328:
246:. They have been present for decades in the repertoire of many
172:
160:
131:
110:
94:
1476:
1134:. It refers to the large masses of the public who follow the
852:
258:
ensembles, also having an influence on modern genres such as
180:
164:
868:
to hear him or her singing during a street performance, the
604:
season, Los Hoyos performs a traditional event known as an "
860:
named âLos Chinos Buenosâ adapted it to use in place of an
282:
60:
1354:
270:, also known in Cuba as tumbadora, took its name from the
1224:. DirecciĂłn municipal de Santiago de Cuba. Archived from
632:
1045:(in Spanish). Madrid, Spain: Akal. pp. 39â84, 238.
620:. Los Hoyos also closes the traditional parades of the
230:
or other social groups, whereas the later ones, called
381:â (the "King of the Congoâ), which seems to confirm a
361:
Ortiz (II 1952-5:34) also states that the drum called
1142:) and who march in a rhythmic shuffle, following the
335:" was originally an adjective (as in the expression
1117:. Spanish transl. Havana 1965. A section entitled
541:
InvasiĂłn of the Conga de Los Hoyos in Santiago 2014
800:(variations) that it can play. The lower-pitched
491:On the other hand, an opinion poll of 1936 on the
314:
1494:
1158:. This multitudinous form of dancing is called
1209:, ed. Judith Bettelheim (2001), 173–205.
985:- this page has samples of different styles of
842:The final category includes only one item: the
827:were not originally used in the pre-Republican
413:âIn spite of the prohibitive proclamation, the
400:
1115:The Pearl of the Antilles or an artist in Cuba
624:of Santiago de Cuba (del Carmen et al. 2005).
555:At first, the instruments of the group were a
503:... From today, it is only 18 days until the
425:displayed its contortions.â (PĂ©rez I 1988:254)
290:Paso Franco playing in the streets of Santiago
1340:
1081:
923:time (the traditional time signature for the
1245:: CS1 maint: multiple names: authors list (
953:Variation on basic step (FernĂĄndez 1974:92)
163:), which is an adaptation of the Cantonese
1347:
1333:
1096:: CS1 maint: location missing publisher (
347:changed to a noun (del Carmen et al. 2005)
244:Armando Oréfiche and his Havana Cuban Boys
760:A third category are the bimembranophone
1064:
1062:
983:in Cuba; Folkways Records FW04065 (1981)
959:
948:
933:
631:
536:
299:The history of the conga (also known as
281:
122:refers to the music groups within Cuban
967:
14:
1495:
1356:Cuban musical forms, genres and styles
1084:Origen y evoluciĂłn de la mĂșsica cubana
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1059:
1034:
1032:
1030:
1028:
532:
52:Congolese and West African traditions
454:in print outnumbered defenders. The
183:which are struck with metal sticks.
137:The instrumentation differs between
1130:PĂ©rez (I 1988:256-7, note 4) says:â
1038:
389:(PĂ©rez I 1988:104). Also, the word
24:
1082:Zayas Bringas, Enrique G. (1998).
1025:
627:
575:was increased and the cowbell and
25:
1519:
1305:
1070:GuĂa cultural de Santiago de Cuba
876:and its followers. In 1910, the
831:. âOne is soon aware that these
720:(Brea and Millet 1993:179). The
495:elicited the following comments:
748:âThe fact that the modern Cuban
591:. Los Hoyos first began using a
325:Democratic Republic of the Congo
1178:
1169:
1124:
1104:
1075:
976:; Le Chant du Monde LDX-A-4250
808:(Brea and Millet 1993:196) or
315:Relation to Kongo ethnic group
13:
1:
1222:"Focos culturales: Los Hoyos"
1199:
479:– under the pretext of
1119:MĂĄscaras en Santiago de Cuba
1018:
712:. Anywhere from four to 16
644:" formerly belonging to the
466:(father of American TV star
401:Antipathy after independence
7:
1086:(in Spanish). Havana, Cuba.
1003:
974:Carnaval Ă Santiago de Cuba
673:The second category is the
10:
1524:
571:were added, the number of
464:Desiderio Alberto Arnaz II
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277:
29:
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1150:, frying pans, cowbells,
823:, Ortiz asserts that the
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385:ethnic connection to the
356:the language of the Congo
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27:Cuban music style, rhythm
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373:â in conjunction with a
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36:Conga (disambiguation)
34:. For other uses, see
1317:- see a video of the
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663:(PĂ©rez I 1988:102)."
635:
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497:
472:
431:
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321:Republic of the Congo
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86:, metallic idiophones
74:, trumpet, trombone,
968:Selected discography
612:are located. This "
429:According to PĂ©rez,
358:" (Ortiz 1924:118).
350:. However, the word
1312:Cutumba performing
1013:of Santiago de Cuba
999:; Egrem C557 (1996)
740:was adopted by the
618:War of Independence
234:, are derived from
151:Congas santiagueras
140:congas santiagueras
68:Typical instruments
1039:Roy, Maya (2004).
965:
955:
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563:, a cowbell and a
543:
533:Conga of Los Hoyos
397:(Orovio 1981:58).
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272:congas de comparsa
228:cabildos de naciĂłn
63:, mid-19th century
1490:
1489:
989:music, including
837:comparsa carabalĂ
450:Opponents to the
421:, the well-known
377:figure known as â
305:conga de comparsa
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393:means âdrumâ in
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343:was dropped and
339:), and that the
185:Congas habaneras
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119:
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32:Conga (drum)
1467:son montuno
1372:cha-cha-chĂĄ
1160:arrolladera
1132:Arrolladera
929:"arrollao."
814:redoblante.
648:San AgustĂn
600:During the
569:redoblantes
439:bourgeoisie
423:arrolladera
309:mamarrachos
217:frying pans
84:conga drums
1497:Categories
1437:mozambique
1232:2007-01-24
1200:References
1164:arrollando
995:Santiago:
890:carnavales
866:inspirador
862:inspirador
794:redoblante
710:conga drum
468:Desi Arnaz
268:conga drum
205:idiophones
201:bass drums
193:side drums
1412:guaguancĂł
1402:danzonete
1241:cite news
1184:The word
1156:comparsas
1144:comparsas
1136:comparsas
1092:cite book
1019:Footnotes
734:bocusito,
728:called a
683:alt. pl.
546:Los Hoyos
435:comparsas
252:big bands
248:conjuntos
187:lack the
159:(Chinese
124:comparsas
118:The term
1442:pachanga
1427:habanera
1417:guaracha
1382:columbia
1190:tambores
1011:Carnaval
1004:See also
987:carnaval
981:Carnaval
940:arrollao
874:comparsa
858:comparsa
825:tambores
810:pilonera
790:requinto
782:galletas
778:requinto
774:galletas
772:and two
770:requinto
766:tambores
762:tambores
702:bokusero
668:campanas
622:Carnaval
614:invasiĂłn
606:invasiĂłn
602:carnaval
589:requinto
587:and the
581:campanas
505:carnaval
481:carnaval
375:carnaval
341:comparsa
256:descarga
250:, Cuban
209:cowbells
207:such as
1422:guajira
1392:criolla
1377:changĂŒĂ
894:Oriente
802:galleta
798:floreos
722:bocuses
714:bocuses
677:(sing.
675:bocuses
640:: the "
638:campana
559:, some
395:Kikongo
367:Goodman
295:Origins
278:History
236:barrios
169:Oriente
1452:pregĂłn
1397:danzĂłn
1367:bolero
1292:
1281:
1270:
1260:
1213:
1148:tumbas
1140:congas
1113:1873.
1049:
991:conga.
833:congas
829:congas
786:congas
776:. The
768:: one
730:quinto
689:fondos
685:bocĂșes
661:gĂŒiros
610:congas
585:quinto
573:bocĂșes
561:bocĂșes
446:Debate
415:tumbas
407:tangos
329:Angola
323:, the
266:. The
232:paseos
213:spoons
197:bombos
181:brakes
177:quinto
173:ashiko
161:cornet
132:Havana
111:Havana
1482:yambĂș
1477:timba
1472:songo
1447:pilĂłn
1432:mambo
1407:filin
1387:conga
1319:conga
1314:conga
1186:conga
925:conga
906:conga
900:Dance
886:conga
882:conga
853:suona
806:pilĂłn
742:conga
726:bocĂș,
718:conga
695:âThe
657:conga
646:conga
577:gĂŒiro
565:gĂŒiro
557:pilĂłn
550:conga
526:conga
509:conga
493:conga
485:conga
460:conga
456:conga
452:conga
419:tumba
387:conga
383:kongo
352:conga
345:conga
333:conga
288:conga
264:songo
260:salsa
165:suona
120:conga
80:bombo
44:Conga
1290:ISBN
1279:ISBN
1268:ISBN
1258:ISBN
1247:link
1211:ISBN
1098:link
1047:ISBN
904:The
821:bocĂș
754:bokĂș
750:bokĂș
738:bocĂș
697:bokĂș
680:bocĂș
642:cĂĄn,
522:bocĂș
518:bocĂș
513:bocĂș
501:bocĂș
391:bokĂș
363:bokĂș
327:and
286:The
262:and
254:and
242:and
221:rims
219:and
143:and
109:and
76:bokĂș
61:Cuba
1462:son
892:of
846:or
732:or
303:or
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