Cuban rumba - Knowledge

875:

musicians dancers and singers gathered together to become inspired through rumba. In other words, rumba was a form of the moment where spontaneity was essentially the sole objective. However, post-revolutionary Cuba "led to manipulation of rumba form. It condensed the time of a rumba event to fit theater time and audience concentration tie. It also crystallized specific visual images through... framed and packaged... dance form on stages and special performance patios." Yvonne Daniel states: “Folklórico Nacional dancers . . . must execute each dance as a separate historical entity in order to guard and protect the established representations of Cuban folkloric traditions . . . by virtue of their membership in the national company, the license to elaborate or create stylization . . . is not available to them.” As official caretakers of the national folkloric treasure, the Conjunto Folklórico Nacional has successfully preserved the sound of the mid-twentieth century Havana-style rumba.

1206:, symbolizing sexual penetration. The vacunao can also be expressed with a sudden gesture made by the hand or foot. The quinto often accents the vacunao, usually as the resolution to a phrase spanning more than one cycle of clave. Holding onto the ends of her skirt while seductively moving her upper and lower body in contrary motion, the female “opens” and “closes” her skirt in rhythmic cadence with the music. The male attempts to distract the female with fancy (often counter-metric) steps, accented by the quinto, until he is in position to “inject” her. The female reacts by quickly turning away, bringing the ends of her skirts together, or covering her groin area with her hand (botao), symbolically blocking the “injection.” Most of the time the male dancer does not succeed in “catching” his partner. The dance is performed with good-natured humor. 47: 1054: 1090: 1078: 1066: 303:, due to its similarity to other Afro-Caribbean words such as tumba, macumba, mambo and tambó. During the 19th century in Cuba, specifically in urban Havana and Matanzas, people of African descent originally used the word rumba as a synonym for party. According to Olavo Alén, in these areas " rumba ceased to be simply another word for party and took on the meaning both of a defined Cuban musical genre and also of a very specific form of dance." The terms rumbón and rumbantela (the latter of Galician or Portuguese origin) are frequently used to denote rumba performances in the streets. 1048: 568:) is also present. In most rumba styles, such as yambú and guaguancó, duple pulse is primary and triple-pulse is secondary. In contrast, in the rural style columbia, triple pulse is the primary structure and duple pulse is secondary. This can be explained due to the "binarization" of African-based ternary rhythms. Both the claves and the quinto (lead drum) are responsible for establishing the rhythm. Subsequently, the other instruments play their parts supporting the lead drum. Rhythmically, rumba is based on the five-stroke 1121: 1153:, large houses in the poorest districts of Havana and Matanzas mostly inhabited by the descendants of enslaved Africans. Both styles are thus predominantly urban, danced by men and women alike, and exhibit a historical "binarization" of their meter, as described by Cuban musicologist Rolando Antonio Pérez Fernández. In contrast, columbia has a primarily rural origin, also in the central regions of Cuba, being almost exclusively danced by men, and remaining much more grounded in West African (specifically 1170:

by men and women together. Although male dancers may flirt with female dancers during the dance, they do not use the vacunao of guaguancó. In Matanzas the basic quinto part for yambú and guaguancó alternates the tone-slap melody. The following example shows the sparsest form of the basic Matanzas-style quinto for yambú and guaguancó. The first measure is tone-slap-tone, and the second measure is the opposite: slap-tone-slap. Regular note-heads indicate open tones and triangle note-heads indicate slaps.

822:

and poetry." During slavery, and after it was abolished, rumba served as a social outlet for oppressed slaves and the underclass which was typically danced in the streets or backyards in urban areas. Rumba is believed to have grown out of the social circumstances of Havana because it "was the center for large numbers of enslaved Africans by the end of the eighteenth century. Rebellion was difficult and dangerous, but protest in a disguised form was often expressed in recreational music and dance."

1174: 1129: 871:

to control this "by organizing where rumba could take place agreeable and successfully, the government, through the Ministry of Culture, moved to structurally safeguard one of its major dance/music complexes and incorporate it and Cuban artists nearer the core of official Cuban culture." This change in administering rumba not only helped organize the dances but also helped it move away from the negative connotation of being a disruptive past time event.

495: 1292: 1340: 647:

plantations. Where large populations of enslaved Africans lived, African religion, dance, and drumming were clandestinely preserved through the generations. Cultural retention among the Bantu, Yoruba, Fon (Arará), and Efik (Abakuá) had the most significant impact in western Cuba, where rumba was born. The consistent interaction of Africans and Europeans on the island brought about what today is known as

1325: 867:"shifted from its original locus, street corners, where it often shared attention with parallel activities of traffic, business, and socializing, to its secondary quarters, the professional stage, to another home, the theatrical patio." Although Folklórico Nacional aided in the tourist promotion of rumba, the Ministry of Culture helped successfully and safely organize rumba in the streets. 1280: 1348:

ever-changing steps. The quinto vocabulary is used to accompany, inspire and in some ways, compete with the dancers' spontaneous choreography. According to Yvonne Daniel, "the columbia dancer kinesthetically relates to the drums, especially the quinto (...) and tries to initiate rhythms or answer the riffs as if he were dancing with the drum as a partner."

605:, ten-line stanzas. Alternatively, the singer might sing an established song. Some of the most common and recognizable rumba standards are "Ave Maria Morena" (yambú), "Llora como lloré" (guaguancó), "Cuba linda, Cuba hermosa" (guaguancó), "China de oro (Laye Laye)" (columbia), and "A Malanga" (columbia). 1016:

The batá rhythms chachalokuafun and ñongo in particular have absorbed rumba aesthetics. Michael Spiro states: “When I hear ñongo played by young drummers today, I hear rumba." In chachalokuafun the high-pitched okónkolo drum, usually the most basic and repetitive batá, improvises independently of the

992:

Even though rumba is technically complicated and usually performed by a certain social class and one "racial group", Cubans consider it one of the most important facets of their cultural identity. In fact, it is acknowledged as intimately and fundamentally "Cuban" by most Cubans because it rose from

874:

Although this organization helped the style of rumba develop as an aspect of national culture, it also had some negative effects. For example, one of the main differences between pre- and post-revolutionary is that after the revolution rumba became more structured and less spontaneous. For instance,

821:

Rumba served as an expression to those who were oppressed, thus beginning a social and racial identity with rumba. The synthesis of cultures can be seen in rumba because it "exhibits both continuity with older traditions and development of new ones. The rumba itself is a combination of music, dance,

663:

Cuban transculturation melds Spanish culture with African cultures, as with the seamless merging found in rumba. Ortiz saw transculturation as a positive social force: "consecrating the need for mutual understanding on an objective grounding of truth to move toward achieving the definitive integrity

1169:

Yambú is considered the oldest style of rumba, originating in colonial times. Hence, it is often called "yambú de tiempo España" (yambú of Spanish times). It has the slowest tempo of all rumba styles and its dance incorporates movements feigning frailty. It can be danced alone (usually by women) or

891:

greatly expanded the melodic parameters of the drums, inspiring a wave of creativity that ultimately led to the modernization of rumba drumming. Freed from the confines of the traditional drum melodies, rumba became more an aesthetic, rather than a specific combination of individual parts. The most

870:

In early post-revolutionary times, spontaneous rumba might have been considered problematic due to its attraction of large groups at unpredictable and spontaneous times, which caused traffic congestion in certain areas and was linked with fights and drinking. The post-revolutionary government aimed

1192:

Guaguancó is the most popular and influential rumba style. It is similar to yambú in most aspects, having derived from it, but it has a faster tempo. The term "guaguancó" originally referred to a narrative song style (coros de guaguancó) which emerged from the coros de clave of the late nineteenth

1109:

in the early 1940s. The musicians improvised with a rumba sensibility. By the 1950s the rhythmic vocabulary of the rumba quinto was the source of a great deal of rhythmically dynamic phrases and passages heard in Cuban popular music and Latin jazz. Even with today’s flashy percussion solos, where

706:

as a genre became established. Such proto-rumba styles were probably instrumented with household items such as boxes and drawers instead of the congas, and frying pans, spoons and sticks instead of guaguas, palitos and claves. While these early precursors of rumba have been barely documented, the

862:

After the Cuban Revolution of 1959, there were many efforts by the government to institutionalize rumba, which has resulted in two different types of performances. The first was the more traditional rumba performed in a backyard with a group of friends and family without any type of governmental

825:

Even after slavery was abolished in Cuba, there still remained social and racial inequality, which Afro-Cubans dealt with by using rumba's music and dancing as an outlet of frustration. Because Afro-Cubans had fewer economic opportunities and the majority lived in poverty, the style of dance and

635:

It should be mentioned at the outset that the history of rumba is filled with so many unknowns, contradictions, conjectures and myths which have, over time been taken as fact, that any definitive history of the genre is probably impossible to reconstruct. Even elders who were present at historic

592:". The lead singer provides a melodic phrase or musical motive/theme for the choral sections, or they may present new but related material. Parallel harmonies are usually built above or below a melodic line, with "thirds, sixths, and octaves most common." Therefore, the singer who is singing the 878:

True traditional or folkloric rumba is not as stylized as the theatrical presentations performed by professional rumba groups; rather, "t is more of an atmosphere than a genre. It goes without saying that in Cuba there is not one rumba, but many rumbas." Despite the structure enforced in rumba

866:

Two institutions that promoted rumba as part of Cuban culture –thus creating the tourist performance– are the Ministry of Culture and the Conjunto Folklórico Nacional de Cuba ('Cuban Nacional Folkloric Company'). As Folklórico Nacional became more prevalent in the promotion of rumba, the dance

646:

Enslaved Africans were first brought to Cuba in the 16th century by the early Spanish settlers. Due to the significance of sugar as an export during the late 18th and early 19th century, even greater numbers of people from Africa were enslaved, brought to Cuba, and forced to work on the sugar

1347:

Columbia quinto phrases correspond directly to accompanying dance steps. The pattern of quinto strokes and the pattern of dance steps are at times identical, and at other times, imaginatively matched. The quinto player must be able to switch phrases immediately in response to the dancer's

1197:

Guaguancó is a couple dance of sexual competition between the male and female. The male periodically attempts to “catch” his partner with a single thrust of his pelvis. This erotic movement is called the vacunao (‘vaccination’ or more specifically ‘injection’), a gesture derived from

993:

Cuban social dance. After its institutionalization following the Revolution, rumba has adopted a position as a symbol of what Cuba stands for and of how Cubans want the international community to envision their country and its culture and society: vibrant, full of joy and authentic.

809:, the latter as director), and Paso Franco. These ensembles gave rise to the first authentic rumba groups, and with them several types of rumba emerged, including the now popular guaguancó and yambú. However, others have been lost to time or are extremely rare today, such as the 971:

Rumba is considered "the quintessential genre of Cuban secular music and dance". In 1985 the Cuban Minister of Culture stated that "rumba without Cuba is not rumba, and Cuba without rumba is not Cuba." For many Cubans, rumba represents "a whole way of life", and professional

917:

Guarapachangueo, invented by the group Los Chinitos in Havana in the 1970s, is based on "the interplay of beats and rests", and is highly conversational (Jottar, 2008). Far from the standardized regularity of the drum rhythms of recordings such as

1091: 1079: 1067: 1055: 1140:

musicians cite rumba as a primary source of inspiration in composing and arranging. Timba composer Alain Pérez states: "In order to get this spontaneous and natural feel, you should know la rumba . . . all the percussion, quinto improvising."

1260:

struck on a guataca ('hoe blade') or a metal bell. Columbia originated in the hamlets, plantations, and docks where men of African descent worked together. Unlike other rumba styles, columbia is traditionally meant to be a solo male dance.

1024:

ensemble known as agbe or guiro, is played on the high-pitched quinto, instead of the lower-pitched tumba as was done in earlier times. The part has evolved away from the bembé caja (lead drum) vocabulary towards quinto-like phrases.

976:

have called it "a national sport, as important as baseball". The genre has permeated not only the culture of Cuba but also that of the whole of Latin America, including the United States, through its influence on genres such as

616:. The first section may last a few minutes, until the lead vocalist signals for the other singers to repeat the short refrain of the chorus, in call and response. This second section of the song is sometimes referred to as the 1351:

Men may also compete with other men to display their agility, strength, confidence and even sense of humor. Some of these aforementioned aspects of rumba columbia are derived from a colonial Cuban martial art/dance called

1013:, which are toques similar to rumbas and are not orthodox according to rites; the drummers who do not gratify the faithful, who are the ones that pay, are not called to play and if they do not play, they do not collect.” 942:

In their video about the history of guarapachangueo, Los Chinitos say that initially the word "guarapachangueo" was used by their colleague musician in a disparaging way: "What kind of guarapachangueo are you playing?".

1193:

and early twentieth centuries. Rogelio Martínez Furé states: “ old folks contend that strictly speaking, the guaguancó is the narrative." The term guaguancó itself may derive etimologically from the guagua instrument.

251:

Since its early days, the genre's popularity has been largely confined to Cuba, although its legacy has reached well beyond the island. In the United States, it gave its name to the so-called "ballroom rumba", or

1287:

In Matanzas, the melody of the basic columbia quinto part alternates with every clave. As seen in the example below, the first measure is tone-slap-tone, while the second measure is the inverse: slap-tone-slap.

596:

initiates the beginning of the rumba experience for the audience. The singer then improvises lyrics stating the reason for holding and performing the present rumba. This kind of improvisation is called

1001:

Rumba has influenced both the transplanted African drumming traditions and the popular dance music created on the island. In 1950, Fernando Ortíz observed the influence of rumba upon ceremonial

1219: 1161:. In all rumba styles, there is a gradual heightening of tension and dynamics, not simply between dancers but also between dancers and musicians and dancers and spectator/participants.” 922:'s "El vive bien", guarapachangueo often sounds slightly random or unorganized to the untrained ear, yet presents a plethora of percussive synchronicities for those who understand the 902:, created by AfroCuba de Matanzas. Batá-rumba initially was just a matter of combining guaguancó and chachalokuafún, but it has since expanded to include a variety of batá rhythms. 938:), Martinez and Diaz reflect the tendencies of their generation of rumberos in combining these instruments, which widens the sonic plane to include more bass and treble sounds. 584:

Yambú and guaguancó songs often begin with the soloist singing a melody with meaningless syllables, rather than with word-based lyrics. This introductory part is called the

1157:) traditions, which is exemplified by its triple meter. During the 20th century, these styles have evolved, and other subgenres have appeared such as guarapachangueo and 296:, directed by Óscar Valdés, it is stated that the term rumba originated in Spain to denote "all that is held as frivolous", deriving from the term "mujeres de rumbo". 1036:

Many of the rhythmic innovations in Cuban popular music, from the early twentieth century, until present, have been a matter of incorporating rumba elements into the

1040:-based template. For example, bongos incorporating quinto phrases are heard on 1920s recordings of son. Several of the timbales cowbell parts introduced during the 386:

Rumba instrumentation has varied historically depending on the style and the availability of the instruments. The core instruments of any rumba ensemble are the

854:

were the first band to popularize rumba in Cuba and abroad. Their very stylized version of the genre has been considered a "unique" and "innovative" approach.

1028:

Rumba has had a notable influence on cajón pa’ los muertos ceremonies. In a rare turn of events, the secular yambú was adopted into this Afro-Cuban religion.

1210:

Vernon Boggs states that the woman's "dancing expertise resides in her ability to entice the male while skillfully avoiding being touched by his vacunao."

288:, the word derives from "rumbo", meaning "uproar" (and previously "pomp") and also "the course of a ship", which itself may derive from the word "rombo" (" 1272:

traditions. The drum patterns of the lowest conga drum is essentially the same in both columbia and Abakuá. The rhythmic phrasing of the Abakuá lead drum

846:

and his Conjunto Afrocubano Lulú Yonkori, yielding the 1956 hit "El vive bien". The success of this song prompted the promotion of another rumba group,

1336:. The combined open tones of these drums generate the melodic foundation. Each cross-beat is "doubled", that is, the very next pulse is also sounded. 1110:

snare rudiments and other highly developed techniques are used, analysis of the prevailing accents will often reveal an underlying quinto structure.

723:

dance and music of Congolese origin became integrated into such choirs, lending its percussion instruments and dance moves. In addition, the secret

2809: 698:

The earliest progenitors of the urban styles of rumba (yambú and guaguancó) might have developed during the early 19th century in slave barracks (

767:

time with European harmonies and instruments. Songs began with a female solo singer followed by call-and-response choral singing. As many as 60

879:

through the Folklórico Nacional and the Ministry of Culture, traditional forms of rumba danced at informal social gatherings remain pervasive.

1149:

Traditionally rumba has been classified into three main subgenres: yambú, guaguancó and columbia. Both yambú and guaguancó originated in the

851: 1117:. Songo congas play a hybrid of the salidor and quinto, while the timbales or drum kit play an embellishment of the Matanzas-style guagua. 612:, features the lead vocalist, performing an extended text of verses that are sometimes partially improvised. The lead singer usually plays 1321:) filled with beans or similar objects. One hand plays the triple-pulse rumba clave pattern, while the other plays the four main beats. 2907: 679:, were large houses in the poor dock neighborhoods of Havana and Matanzas. Many of the important figures in the history of rumba, from 244:). During the genre's recorded history, which began in the 1940s, there have been numerous successful rumba bands such as Los Papines, 398:(lead drum, highest-pitched), tres dos (middle-pitched), and tumba or salidor (lowest-pitched). Other common instruments include the 46: 226:(courtyards), rumba remains one of Cuba's most characteristic forms of music and dance. Vocal improvisation, elaborate dancing and 707:

direct precursors towards the mid- and late-19th century have been widely studied. Urban rumba styles are rooted in the so-called

310:, which refers to a dance characterized by the joining and rubbing of navels. This dance was integral to the celebrations of the 2715: 731:

region of West Africa that prevailed in both Havana and Matanzas also influenced the development of rumba as a syncretic genre.

4044: 2076: 1532: 1633: 2415: 2639: 2452: 2398: 2238: 2211: 2133: 2106: 2040: 1924: 1885: 1861: 1808: 1752: 1594: 1504: 1471: 830:, which institutionalized it. The first commercial studio recordings of Cuban rumba were made in 1947 in New York by 826:

music did not gain national popularity and recognition until the 1950s, and especially after the effects of the 1959

470:, began to include authentic rumbas among their dance pieces. The group AfroCuba de Matanzas, founded in 1957, added 3291: 353:(not proper rumbas), which had a binary meter in contrast to the ternary meter of traditional rural genres such as 319: 2720: 2781: 1829:

Ritmos de identidad: el legado de Fernando Ortiz y la colección de intrumentos de percusioń de la familia Howard

4070: 2900: 2876: 2518: 1005:

drumming: "“The drummers are alarmed at the disorder that is spreading in the temples regarding the liturgical

4037: 215:

is now commonly used by musicologists. This complex encompasses the three traditional forms of rumba (yambú,

888: 847: 752:

and became popular between the 1880s and the 1910s. They comprised as many as 150 men and women who sang in

245: 1265: 1105:(mostly instrumental jams sessions) where jazz-influenced improvisation was developed, were first known as 771:

might have existed by 1902, some of which denied any African influence on their music. Examples of popular

951:

also played a vital role in the development of the genre. The word derives from "guarapachanga", itself a

2353: 1549: 1332:

The fundamental salidor and segundo drum melody of the Havana-style columbia, is an embellishment of six

1017:

conversations carried on between the other two drums (iyá and itótele), in a manner suggestive of rumba.

426:, wooden boxes that preceded the congas. During the 1940s, the genre experienced a mutual influence with 407: 656: 691:. Slavery was abolished in 1886 in Cuba and first-generation of free black citizens were often called 185:

involving dance, percussion, and song. It originated in the northern regions of Cuba, mainly in urban

3536: 2893: 1689: 17: 3858: 2566:

Cajón Los Muertos: Transculturation and Emergent Tradition in Afro-Cuban Ritual Drumming and Song

2032:

Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Cuban Musicians in the United States

1853: 1586:

Music from Cuba: Mongo Santamaria, Chocolate Armenteros, and Cuban Musicians in the United States

3146: 863:

involvement. The second was a style dedicated to tourists while performed in a theater setting.

4075: 2068: 1496: 1389: 1363:. Columbia incorporates many movements derived from Abakuá and yuka dances, as well as Spanish 636:

junctures in rumba’s development will often disagree over the critical details of its history.

3664: 588:. According to Larry Crook, the diana is important because it "also contains the first choral 3951: 3946: 3126: 1712: 1676: 1414: 362: 315: 306:

According to non-etymological sources, rumba could be related to "nkumba" meaning "navel" in

2730: 2513:. The Cuba Reader, Chomsky, Carr & Smorkaloff: Duke University Press. pp. 466–474. 1113:

In the late 1970s guaguancó was incorporated into Cuban popular music in the style known as

749: 31: 3521: 503: 236:(wooden boxes) were used as drums until the early 20th century, when they were replaced by 3098: 3055: 435: 193:, during the late 19th century. It is based on African music and dance traditions, namely 8: 3883: 3878: 3541: 3201: 2774: 2492: 831: 100: 1315:, is the same as the pattern used in abakuá music, played by two small plaited rattles ( 684: 3823: 3784: 3216: 2332: 1957: 1489: 3751: 3463: 3449: 3311: 1826: 806: 431: 3941: 3813: 3471: 3271: 2635: 2514: 2448: 2394: 2234: 2207: 2149: 2129: 2102: 2072: 2061: 2036: 1920: 1881: 1857: 1804: 1748: 1705: 1590: 1528: 1500: 1467: 443: 329:

Due to its broad etymology, the term rumba historically retained a certain degree of

3386: 3193: 2885: 1794: 1437: 1047: 927: 423: 232: 208: 112: 3803: 3176: 3171: 3026: 2374: 2324: 2161: 2098:

Nationalizing Blackness: Afrocubansimo and artistic Revolution in Havana, 1920-1940

1949: 1744:

Nationalizing Blackness: Afrocubansimo and artistic Revolution in Havana, 1920-1940

1307:) rhythm of columbia, beaten either with two sticks on a guagua (hollowed piece of 827: 680: 652: 311: 3276: 3211: 1353: 842:. The first commercial ensemble recordings of rumba were made in the mid 1950s by 482:(vocals-only, without instruments) rumba has been performed by the Cuban ensemble 439: 3915: 3903: 3888: 3833: 3828: 3699: 3679: 3649: 3629: 3597: 3551: 3506: 3439: 3419: 3414: 3391: 2958: 2865: 2829: 2629: 2442: 2388: 2357: 2228: 2201: 2123: 2096: 2030: 1843: 1798: 1742: 1611: 1584: 1461: 982: 956: 261: 219:

and columbia), as well as their contemporary derivatives and other minor styles.

4065: 3925: 3920: 3853: 3818: 3714: 3641: 3577: 3546: 3501: 3491: 3476: 3044: 3021: 2973: 2855: 2850: 2767: 1384: 978: 923: 740: 573: 483: 300: 285: 269: 203: 122: 66: 2754: 2749: 2744: 2735: 2370: 2165: 4059: 4006: 3996: 3709: 3684: 3659: 3572: 3531: 3088: 3016: 2986: 2981: 2860: 1394: 1203: 948: 944: 919: 843: 395: 299:

Alternatively, in Cuba the term might have originated from a West African or

273: 92: 2824: 2577:

Salazar, Max (Feb 1997). "La Descarga Cubana - The Beginning and Its Best".

2000:. Ed. Pedro Perez Sarduy & Jean Stubbs. New York, NY: Ocean Press. p. 31 1158: 898: 475: 151: 4011: 3674: 3592: 3587: 3486: 3481: 3424: 3321: 3261: 3238: 3103: 3080: 3050: 2925: 2917: 2537:. tr. John Turpin III and B.E. Martínez 1980. Oakland, CA: the translators. 1849: 1780: 1634:"From Nkumba to Rumba: the Rich Intangible Cultural Heritage of the Congos" 1368: 1268:, columbia originated from the drum patterns and chants of religious Cuban 1257: 1199: 1051:

Four different timbales bell parts adapted from guaguancó guagua patterns.

720: 569: 342: 211:, rumba is one of the major "genre complexes" of Cuban music, and the term 198: 61: 3734: 2814: 2328: 1187: 667:

Most ethnomusicologists agree that the roots of rumba can be found in the

222:

Traditionally performed by poor workers of African descent in streets and

216: 143: 4032: 3976: 3956: 3848: 3808: 3763: 3741: 3602: 3516: 3434: 3406: 3338: 3333: 3281: 3093: 2938: 2631:

Central Africa in the Caribbean: Transcending Time, Transforming Cultures

1276:

is similar, and in some instances, identical to columbia quinto phrases.

1173: 1114: 1041: 1037: 986: 952: 447: 182: 3719: 3131: 3011: 3006: 2447:. Berkeley and Los Angeles: University of California Press. p. 64. 2373:", available at Youtube and many other video sharing sites, some citing 2336: 1996:

Ortiz, Fernando (1993). "For a Cuban Integration of Whites and Blacks."

1917:

The Clave Matrix; Afro-Cuban Rhythm: Its Principles and African Origins.

1831:. Washington, DC: Smithsonian Center for Latino Initiatives. p. 43. 1218: 1120: 4016: 3898: 3843: 3758: 3746: 3511: 3496: 3166: 3136: 3108: 2634:. Kingston, Jamaica: University of the West Indies Press. p. 260. 1776: 1333: 835: 648: 479: 467: 427: 265: 241: 227: 3181: 3001: 1961: 1375:

moves. In recent decades, women are also beginning to dance columbia.

1021: 494: 411: 108: 3780: 3614: 3567: 3526: 3444: 3253: 3243: 3221: 3141: 3118: 3065: 3060: 931: 508:

Although rumba is played predominantly in binary meter (duple pulse:

459: 390:, two hard wooden sticks that are struck against each other, and the 366: 88: 3991: 3971: 3910: 3694: 2721:

Video clips of Cuban rumba and other Cuban folkloric music and dance

1845:

Arsenio Rodríguez and the Transnational Flows of Latin Popular Music

1569: 1269: 1154: 724: 194: 57: 3893: 3724: 3704: 3689: 3669: 3624: 3429: 3376: 3353: 3343: 3306: 3266: 3228: 3070: 2996: 2991: 2953: 2943: 1953: 1903:

La binarización de los ritmos ternarios africanos en América Latina

1660: 1364: 1360: 1317: 1291: 1283:

Abakuá bonkó phrase which is also played by the quinto in Columbia.

1102: 960: 463: 350: 330: 190: 166: 3031: 2804: 419: 3981: 3961: 3328: 3301: 3233: 3206: 2933: 2495:(1999) Inter. J. Poet. “Francisco Aguabella: Sworn to the Drum.” 2350: 1372: 1128: 838:

for SMC Pro-Arte, and in 1948 in Havana by Filiberto Sánchez for

728: 617: 589: 474:

drums to the traditional rumba ensemble in their style, known as

451: 415: 403: 358: 307: 289: 257: 104: 1002: 892:

significant innovation of the late 1980s was the rumba known as

850:, which became extremely popular. Together with Los Muñequitos, 471: 399: 373:

despite not sharing any musical similarities with actual rumba.

3795: 3654: 3609: 3582: 3360: 3348: 3316: 2948: 2845: 2819: 2317:

Latin American Music Review / Revista de Música Latinoamericana

1827:

Arts and Industries Building (Smithsonian Institution) (2000).

1357: 1312: 1308: 839: 810: 613: 387: 354: 323: 253: 186: 170: 96: 2101:. Pittsburgh, PA: University of Pittsburgh Press. p. 92. 1940:

Crook, Larry (1982). "A Musical Analysis of the Cuban Rumba".

1747:. Pittsburgh, PA: University of Pittsburgh Press. p. 54. 1367:, and contemporary expressions of the dance often incorporate 1324: 3986: 3966: 3838: 3775: 3770: 3619: 3396: 3381: 3038: 2963: 2725: 2393:. Jackson, MS: University Press of Mississippi. p. 122. 1466:(2nd ed.). Abingdon, Oxon: Routledge. pp. 114–115. 1137: 1044:

era of the 1940s are Havana-style guaguancó guagua patterns:

935: 609: 455: 391: 248:, Clave y Guaguancó, AfroCuba de Matanzas and Yoruba Andabo. 2716:

Article on Cuban rumba written by Ned Sublette at lameca.org

2206:. Oakland, CA: University of California Press. p. 280. 1525:

Diccionario crítico etimológico castellano e hispánico: Ri-X

1413:

Guarapachanga is an unrelated style of music popularized by

442:, which led to the incorporation of instruments such as the 4001: 1905:(in Spanish). Havana, Cuba: Ediciones Casa de las Americas. 1339: 1226:

Columbia is a fast and energetic rumba, in a triple-pulse (

996: 905:

A review of the 2008 CD by Pedro Martínez and Román Díaz,

78: 1343:

Havana-style Columbia salidor and segundo composite melody

1020:

The contemporary style of lead drum accompaniment for the

857: 369:

that were sung at the end of the show were referred to as

2012: 2010: 2008: 2006: 1978:. Chapter 2: "Cuba". Philadelphia: Temple U. Press. 1995. 1177:

Basic Matanzas-style quinto part for yambú and guaguancó.

608:

Rumba songs consist of two main sections. The first, the

2759: 2371:

Rumba Guarapachangueo, Concept and History, Los Chinitos

1771:

McAuslan, Fiona; Norman, Matthew (2003). "Cuban music".

1567:

Alén Rodríguez, Olavo (2002). "A History of the Congas"

1279: 292:"), a symbol used in compasses. In the 1978 documentary 2444:

Music and Revolution: Cultural Change in Socialist Cuba

2315:

Frías, Johnny (2010). "Review of The Routes of Rumba".

2203:

Music and Revolution: Cultural Change in Socialist Cuba

1719: 2003: 695:, a term commonly found in the lyrics of rumba songs. 498:

Rumba clave in duple-pulse and triple-pulse structures

2915: 2414:

González García, Gilberto Boanerges (July 24, 2008).

2252: 2250: 2230:

Traditional Afro-Cuban Concepts in Contemporary Music

2063:

Cuba and Its Music: From the First Drums to the Mambo

1495:. Bloomington, IN: Indiana University Press. p. 805:

include El Timbre de Oro, Los Roncos (both featuring

230:

drumming are the key components of all rumba styles.

2726:

Video and binaural 3D audio recording of Cuban rumba

2181:(Regino Jiménez and Ilu Aña) Bembe CD 2027-2 (2001). 2035:. Westport, CT: Praeger Publishers. pp. 25–26. 1222:

Rumba columbia performance in Washington, DC (2008).

30:"Rumbón" redirects here. For the radio station, see 2128:(in Spanish). Madrid, Spain: Akal. pp. 68–70. 1661:"El origen de la música cubana. Mitos y realidades" 1523:Corominas, Joan; Pascual, José A. (1983). "Rumbo". 1491:

Rumba: Dance and Social Change in Contemporary Cuba

816: 2745:Ignacio Berroa demonstrate basic songo stick part. 2247: 2148: 2060: 1704: 1488: 1031: 813:, papalote, tonada, and the jiribilla and resedá. 659:brought to the forefront in cultural studies like 349:). These songs were actually in the form of urban 333:. By the end of the 19th century, Cuban peasants ( 2738:Guaguancó performed by Los Munequitos De Matanzas 1589:. Westport, CT: Praeger Publishers. p. 147. 1527:(in Spanish). Madrid, Spain: Gredos. p. 97. 963:" coined by composer Juan Rivera Prevot in 1961. 4057: 2535:Los instrumentos de la música folklórica de Cuba 1522: 1256:) structure, and often accompanied the standard 466:, in collaboration with musical artists such as 2413: 1900: 1793: 1726:Linares, María Teresa; Núñez, Faustino (1998). 1436: 314:, a historical region that spanned present-day 2301:Carpentier, Alejo and Alan West-Durán (2000). 2067:. Chicago, IL: Chicago Review Press. pp. 1770: 1264:According to Cuban rumba master and historian 715:, street choirs that derived from the Spanish 2901: 2775: 2750:Guarapachangueo demonstrated by Los Chinitos. 1444:. Havana, Cuba: Editorial Pueblo y Educación. 671:of Havana and Matanzas during the 1880s. The 418:; scraper percussion instruments such as the 4045:Hispanic-influenced music in the Philippines 2658:. Havana, Cuba: Consejo Nacional de Cultura. 2627: 2349:Jottar, Berta. 2008. "The Routes of Rumba." 2090: 2088: 1803:. Petaluma, CA: Sher Music Co. p. 179. 1725: 1463:The Garland Handbook of Latin American Music 1328:Abakuá erikundi and Columbia guagua pattern. 2054: 2052: 1459: 486:, as heard in their song "Conga Yambumba". 2908: 2894: 2782: 2768: 2740:. Arcata Theatre, Arcata, CA 21 July 1992. 2386: 1295:Basic Matanzas-style columbia quinto part. 1009:. The people wish to have fun and ask for 365:at the beginning of the 20th century, the 268:). Its influence in Spain is testified by 45: 2226: 2085: 2024: 2022: 1901:Pérez Fernández, Rolando Antonio (1986). 1455: 1453: 1451: 896:, created by Los Chinitos of Havana, and 3117: 2755:See: Batá-rumba performed by Folkloyuma. 2623: 2621: 2546:Spiro quoted by Peñalosa (2011), p. 183. 2390:The Artistry of Afro-Cuban Batá Drumming 2058: 2049: 1935: 1933: 1896: 1894: 1822: 1820: 1766: 1764: 1711:. Havana, Cuba: Letras Cubanas. p. 1609: 1338: 1323: 1290: 1278: 1217: 1172: 1127: 1119: 1046: 997:Influence on other Afro-Cuban traditions 775:include El Arpa de Oro and La Juventud. 493: 2479:Esteban "Chachá" Vega Bacallao (2001). 2152:(1942). "Musical Instruments of Cuba". 1707:Otra visión de la música popular cubana 966: 858:Post-revolutionary institutionalization 576:and the inherent structure it conveys. 14: 4058: 2508: 2416:"La Guarapachanga, símbolo de cubanía" 2028: 2019: 1841: 1835: 1800:Salsa Guidebook for Piano and Ensemble 1702: 1582: 1563: 1561: 1486: 1448: 661:Cuban Counterpoint: Tobacco and Sugar. 3794: 2889: 2763: 2618: 2440: 2434: 2314: 2199: 2094: 1939: 1930: 1891: 1817: 1761: 1740: 801:time, and incorporated drums. Famous 462:instruments. At the same time, Cuban 3405: 2656:Conjunto Folklórico Nacional de Cuba 2233:. Pacific, MO: Mel Bay. p. 21. 1616:Boletín de la Real Academia Española 1518: 1516: 1460:Olsen, Dale; Sheehy, Daniel (2014). 786:, which comprised mostly men, had a 748:were introduced by Catalan composer 651:culture. This is a process known as 628: 406:, wooden sticks to strike the catá; 2121: 2115: 1658: 1558: 264:" (despite being actually based on 24: 2380: 702:) long before the use of the term 402:or guagua, a wooden cylinder; the 381: 376: 64:dance and drumming, Spanish-based 25: 4087: 2709: 2667:Boggs, Vernon (1992). Salsiology. 1856:. pp. 14, 63, 97, 173, 175. 1548:Valdés, Óscar (director) (1978). 1513: 734: 579: 504:Clave (rhythm) § Rumba clave 341:during their parties (guateques, 27:Music genre originating from Cuba 2568:. M.A. Thesis, Tufts University. 1610:Española, Real Academia (1920). 1124:Matanzas-style guaguancó guagua. 882: 817:Early recognition and recordings 320:Democratic Republic of the Congo 2697: 2688: 2679: 2670: 2661: 2654:Martínez Furé, Rogelio (1963). 2648: 2609: 2600: 2587: 2571: 2558: 2549: 2540: 2527: 2502: 2486: 2473: 2461: 2407: 2363: 2343: 2308: 2295: 2286: 2277: 2268: 2259: 2220: 2193: 2184: 2172: 2142: 2059:Sublette, Ned (2004). "Rumba". 1990: 1981: 1968: 1909: 1870: 1787: 1734: 1730:. Fundación Autor. p. 113. 1696: 1652: 1407: 1032:Influence on contemporary music 538:), triple meter (triple pulse: 201:, as well as the Spanish-based 2731:Cuban Rumba Instrument Builder 2628:Warner-Lewis, Maureen (2003). 2351:http://www.rumbosdelarumba.com 2305:. Transition. 2000.82. p. 207. 1626: 1603: 1576: 1541: 1480: 1430: 719:. In addition, the widespread 77:Late 19th century in northern 13: 1: 2676:Peñalosa (2009), pp. 186-191. 1728:La música entre Cuba y España 1424: 1356:which shares similarities to 655:, an idea that Cuban scholar 2533:Ortíz, Fernando (1950: 125) 2470:BBC documentary film (1985). 2387:Schweitzer, Kenneth (2013). 1659:Ruidiaz, Armando Rodriguez. 1266:Gregorio "El Goyo" Hernández 1181: 279: 260:is commonly referred to as " 7: 2377:3.0 non-commercial license. 1942:Latin American Music Review 1880:. Redway, CA: Bembe Books. 1378: 1213: 10: 4092: 2564:Warden, Nolan (2006: 119) 2227:Rodríguez, Arturo (2011). 1185: 1132:Basic songo stick pattern. 889:Los Muñequitos de Matanzas 848:Los Muñequitos de Matanzas 738: 623: 501: 246:Los Muñequitos de Matanzas 29: 4025: 3934: 3871: 3640: 3560: 3462: 3369: 3290: 3252: 3192: 3159: 3079: 2972: 2924: 2874: 2838: 2797: 2789: 2593:Pérez, Alain. Interview. 2016:Peñalosa (2011), p. xiii. 1703:Acosta, Leonardo (2004). 1144: 727:traditions rooted in the 489: 165: 160: 133: 128: 118: 84: 73: 53: 44: 39: 2555:Peñalosa (2011), p. 183. 2360:(accessed May 27, 2009). 2292:Peñalosa (2011), p. 236. 2029:Gerard, Charley (2001). 1987:Peñalosa (2011), p. 184. 1915:Peñalosa, David (2009). 1876:Peñalosa, David (2011). 1583:Gerard, Charley (2001). 1400: 1164: 434:'s Septeto Nacional and 272:and derivatives such as 2846:Rhumba (ballroom rumba) 2694:Peñalosa (2009), p. 33. 2685:Peñalosa (2011), p. 19. 2615:Peñalosa (2011), p. 10. 2511:Dance and Social Change 2509:Daniel, Yvonne (2003). 2468:What’s Cuba Playing At? 2166:10.1093/mq/XXVIII.2.227 1919:Redway, CA: Bembe Inc. 1854:Temple University Press 1773:The Rough Guide to Cuba 1554:(motion picture). Cuba. 1487:Daniel, Yvonne (1995). 1311:) or on the rim of the 2283:Daniel (1995), p. 100. 1842:García, David (2006). 1684:Cite journal requires 1390:Rumba (disambiguation) 1344: 1329: 1296: 1284: 1223: 1208: 1178: 1133: 1125: 1099: 940: 638: 601:, since it is done in 499: 181:is a secular genre of 4071:Cuban styles of music 2877:Cuban styles of music 2703:Daniel (1995), p. 69. 2606:Daniel (1995), p. 70. 2441:Moore, Robin (2006). 2329:10.1353/lat.2010.0003 2274:Daniel (1995), p. 65. 2265:Daniel (1995), p. 61. 2256:Daniel (1995), p. 59. 2200:Moore, Robin (2006). 2154:The Musical Quarterly 2095:Moore, Robin (1997). 1741:Moore, Robin (1997). 1442:Del canto y el tiempo 1342: 1327: 1294: 1282: 1221: 1195: 1176: 1131: 1123: 1050: 915: 633: 497: 458:, and the removal of 316:Republic of the Congo 2916:Music genres in the 2497:Drum Magazine Online 2493:Aguabella, Francisco 2420:Colibrí Azul de Cuba 2190:Daniel (1995), p. 19 967:Legacy and influence 3879:Afro-Peruvian music 3202:Afro-Peruvian music 2579:Latin Beat Magazine 1417:in the early 1960s. 930:(wooden boxes) and 907:The Routes of Rumba 832:Carlos Vidal Bolado 337:) began to perform 85:Typical instruments 3785:Charanga-vallenata 3217:Son de los Diablos 2356:2016-10-07 at the 2150:Courlander, Harold 2122:Roy, Maya (2003). 1976:Caribbean currents 1345: 1330: 1297: 1285: 1224: 1179: 1134: 1126: 1100: 803:coros de guaguancó 784:coros de guaguancó 750:Josep Anselm Clavé 713:coros de guaguancó 500: 363:Cuban bufo theatre 347:fiestas patronales 32:Rumbón (Sirius XM) 4053: 4052: 3867: 3866: 3458: 3457: 3155: 3154: 2883: 2882: 2078:978-1-55652-516-2 1534:978-84-249-1362-5 629:Syncretic origins 478:. More recently, 436:Arsenio Rodríguez 256:, and in Africa, 176: 175: 54:Stylistic origins 16:(Redirected from 4083: 3947:Canción melódica 3792: 3791: 3561:Traditional folk 3403: 3402: 3194:Peruvian coastal 3177:Paraguayan polka 3115: 3114: 2910: 2903: 2896: 2887: 2886: 2784: 2777: 2770: 2761: 2760: 2704: 2701: 2695: 2692: 2686: 2683: 2677: 2674: 2668: 2665: 2659: 2652: 2646: 2645: 2625: 2616: 2613: 2607: 2604: 2598: 2591: 2585: 2575: 2569: 2562: 2556: 2553: 2547: 2544: 2538: 2531: 2525: 2524: 2506: 2500: 2490: 2484: 2477: 2471: 2465: 2459: 2458: 2438: 2432: 2431: 2429: 2427: 2411: 2405: 2404: 2384: 2378: 2375:Creative Commons 2367: 2361: 2347: 2341: 2340: 2312: 2306: 2299: 2293: 2290: 2284: 2281: 2275: 2272: 2266: 2263: 2257: 2254: 2245: 2244: 2224: 2218: 2217: 2197: 2191: 2188: 2182: 2176: 2170: 2169: 2146: 2140: 2139: 2119: 2113: 2112: 2092: 2083: 2082: 2066: 2056: 2047: 2046: 2026: 2017: 2014: 2001: 1994: 1988: 1985: 1979: 1972: 1966: 1965: 1937: 1928: 1913: 1907: 1906: 1898: 1889: 1874: 1868: 1867: 1839: 1833: 1832: 1824: 1815: 1814: 1791: 1785: 1784: 1775:(2nd ed.). 1768: 1759: 1758: 1738: 1732: 1731: 1723: 1717: 1716: 1710: 1700: 1694: 1693: 1687: 1682: 1680: 1672: 1670: 1668: 1656: 1650: 1649: 1647: 1645: 1630: 1624: 1623: 1607: 1601: 1600: 1580: 1574: 1565: 1556: 1555: 1545: 1539: 1538: 1520: 1511: 1510: 1494: 1484: 1478: 1477: 1457: 1446: 1445: 1434: 1418: 1415:Félix Chappottín 1411: 1255: 1254: 1253: 1252: 1240: 1239: 1238: 1237: 1098: 1097: 1096: 1094: 1086: 1085: 1084: 1082: 1074: 1073: 1072: 1070: 1062: 1061: 1060: 1058: 828:Cuban Revolution 800: 799: 798: 797: 766: 765: 764: 763: 693:negros de nación 685:Mongo Santamaría 675:, also known as 664:of the nation." 653:transculturation 642: 567: 566: 565: 564: 552: 551: 550: 549: 537: 536: 535: 534: 522: 521: 520: 519: 430:, especially by 361:. Similarly, in 345:, parrandas and 312:Kingdom of Kongo 119:Derivative forms 74:Cultural origins 49: 37: 36: 21: 4091: 4090: 4086: 4085: 4084: 4082: 4081: 4080: 4056: 4055: 4054: 4049: 4021: 3930: 3904:Afro-Cuban jazz 3889:Bomba del Chota 3863: 3790: 3636: 3556: 3454: 3450:Orquesta típica 3440:Uruguayan tango 3415:Argentine tango 3401: 3365: 3293: 3286: 3248: 3188: 3151: 3113: 3075: 2968: 2920: 2914: 2884: 2879: 2870: 2866:Congolese rumba 2834: 2830:Guarapachangueo 2793: 2788: 2712: 2707: 2702: 2698: 2693: 2689: 2684: 2680: 2675: 2671: 2666: 2662: 2653: 2649: 2642: 2626: 2619: 2614: 2610: 2605: 2601: 2592: 2588: 2576: 2572: 2563: 2559: 2554: 2550: 2545: 2541: 2532: 2528: 2521: 2507: 2503: 2491: 2487: 2481:Roots of Rhythm 2478: 2474: 2466: 2462: 2455: 2439: 2435: 2425: 2423: 2412: 2408: 2401: 2385: 2381: 2368: 2364: 2358:Wayback Machine 2348: 2344: 2313: 2309: 2300: 2296: 2291: 2287: 2282: 2278: 2273: 2269: 2264: 2260: 2255: 2248: 2241: 2225: 2221: 2214: 2198: 2194: 2189: 2185: 2177: 2173: 2147: 2143: 2136: 2125:Músicas cubanas 2120: 2116: 2109: 2093: 2086: 2079: 2057: 2050: 2043: 2027: 2020: 2015: 2004: 1995: 1991: 1986: 1982: 1974:Manuel, Peter. 1973: 1969: 1938: 1931: 1914: 1910: 1899: 1892: 1875: 1871: 1864: 1840: 1836: 1825: 1818: 1811: 1795:Mauleón, Rebeca 1792: 1788: 1769: 1762: 1755: 1739: 1735: 1724: 1720: 1701: 1697: 1685: 1683: 1674: 1673: 1666: 1664: 1657: 1653: 1643: 1641: 1640:. 25 March 2022 1632: 1631: 1627: 1608: 1604: 1597: 1581: 1577: 1566: 1559: 1547: 1546: 1542: 1535: 1521: 1514: 1507: 1485: 1481: 1474: 1458: 1449: 1438:León, Argeliers 1435: 1431: 1427: 1422: 1421: 1412: 1408: 1403: 1381: 1274:bonkó enchemiyá 1251: 1246: 1245: 1244: 1243: 1242: 1236: 1231: 1230: 1229: 1228: 1227: 1216: 1190: 1184: 1167: 1147: 1092: 1089: 1088: 1080: 1077: 1076: 1068: 1065: 1064: 1056: 1053: 1052: 1034: 999: 983:Afro-Cuban jazz 969: 911:guarapachangueo 894:guarapachangueo 885: 860: 819: 807:Ignacio Piñeiro 796: 791: 790: 789: 788: 787: 780:coros the clave 762: 757: 756: 755: 754: 753: 743: 737: 687:were raised in 644: 640: 631: 626: 582: 563: 558: 557: 556: 555: 554: 548: 543: 542: 541: 540: 539: 533: 528: 527: 526: 525: 524: 518: 513: 512: 511: 510: 509: 506: 492: 432:Ignacio Piñeiro 384: 382:Instrumentation 379: 377:Characteristics 282: 262:Congolese rumba 207:. According to 161:Regional scenes 156: 148:guarapachangueo 35: 28: 23: 22: 15: 12: 11: 5: 4089: 4079: 4078: 4073: 4068: 4051: 4050: 4048: 4047: 4042: 4041: 4040: 4029: 4027: 4023: 4022: 4020: 4019: 4014: 4009: 4004: 3999: 3994: 3989: 3984: 3979: 3974: 3969: 3964: 3959: 3954: 3949: 3944: 3938: 3936: 3932: 3931: 3929: 3928: 3926:Tropical music 3923: 3918: 3913: 3908: 3907: 3906: 3896: 3891: 3886: 3881: 3875: 3873: 3869: 3868: 3865: 3864: 3862: 3861: 3856: 3851: 3846: 3841: 3836: 3831: 3826: 3821: 3816: 3811: 3806: 3800: 3798: 3789: 3788: 3778: 3773: 3768: 3767: 3766: 3756: 3755: 3754: 3749: 3739: 3738: 3737: 3727: 3722: 3717: 3712: 3707: 3702: 3697: 3692: 3687: 3682: 3677: 3672: 3667: 3662: 3657: 3652: 3646: 3644: 3638: 3637: 3635: 3634: 3633: 3632: 3627: 3622: 3612: 3607: 3606: 3605: 3600: 3595: 3585: 3580: 3575: 3570: 3564: 3562: 3558: 3557: 3555: 3554: 3549: 3544: 3539: 3534: 3529: 3524: 3519: 3514: 3509: 3504: 3499: 3494: 3489: 3484: 3479: 3474: 3468: 3466: 3460: 3459: 3456: 3455: 3453: 3452: 3447: 3442: 3437: 3432: 3427: 3422: 3417: 3411: 3409: 3400: 3399: 3394: 3389: 3387:Música cebolla 3384: 3379: 3373: 3371: 3367: 3366: 3364: 3363: 3358: 3357: 3356: 3351: 3341: 3336: 3331: 3326: 3325: 3324: 3319: 3309: 3304: 3298: 3296: 3288: 3287: 3285: 3284: 3279: 3274: 3269: 3264: 3258: 3256: 3250: 3249: 3247: 3246: 3241: 3236: 3231: 3226: 3225: 3224: 3219: 3214: 3209: 3198: 3196: 3190: 3189: 3187: 3186: 3185: 3184: 3174: 3169: 3163: 3161: 3157: 3156: 3153: 3152: 3150: 3149: 3144: 3139: 3134: 3129: 3123: 3121: 3112: 3111: 3106: 3101: 3096: 3091: 3085: 3083: 3077: 3076: 3074: 3073: 3068: 3063: 3058: 3053: 3048: 3045:Canary Islands 3041: 3036: 3035: 3034: 3029: 3024: 3022:Rumba flamenca 3019: 3014: 3009: 3004: 2994: 2989: 2984: 2978: 2976: 2970: 2969: 2967: 2966: 2961: 2956: 2951: 2946: 2941: 2936: 2930: 2928: 2922: 2921: 2913: 2912: 2905: 2898: 2890: 2881: 2880: 2875: 2872: 2871: 2869: 2868: 2863: 2858: 2856:Rumba flamenca 2853: 2851:Galician rumba 2848: 2842: 2840: 2839:Other "rumbas" 2836: 2835: 2833: 2832: 2827: 2822: 2817: 2812: 2807: 2801: 2799: 2795: 2794: 2787: 2786: 2779: 2772: 2764: 2758: 2757: 2752: 2747: 2742: 2733: 2728: 2723: 2718: 2711: 2710:External links 2708: 2706: 2705: 2696: 2687: 2678: 2669: 2660: 2647: 2640: 2617: 2608: 2599: 2586: 2570: 2557: 2548: 2539: 2526: 2519: 2501: 2485: 2472: 2460: 2453: 2433: 2406: 2399: 2379: 2362: 2342: 2323:(1): 139–143. 2307: 2294: 2285: 2276: 2267: 2258: 2246: 2239: 2219: 2212: 2192: 2183: 2179:Sacred Rhythms 2171: 2141: 2134: 2114: 2107: 2084: 2077: 2048: 2041: 2018: 2002: 1989: 1980: 1967: 1954:10.2307/780245 1929: 1927:. pp. 185-187. 1908: 1890: 1869: 1862: 1834: 1816: 1809: 1786: 1783:. p. 532. 1760: 1753: 1733: 1718: 1695: 1686:|journal= 1651: 1625: 1618:(in Spanish). 1602: 1595: 1575: 1557: 1540: 1533: 1512: 1505: 1479: 1472: 1447: 1428: 1426: 1423: 1420: 1419: 1405: 1404: 1402: 1399: 1398: 1397: 1392: 1387: 1385:Clave (rhythm) 1380: 1377: 1247: 1232: 1215: 1212: 1186:Main article: 1183: 1180: 1166: 1163: 1146: 1143: 1033: 1030: 998: 995: 979:ballroom rumba 968: 965: 947:and his group 887:In the 1980s, 884: 881: 859: 856: 818: 815: 792: 773:coros de clave 769:coros de clave 758: 746:Coros de clave 741:Coros de clave 739:Main article: 736: 735:Coros de clave 733: 709:coros de clave 657:Fernando Ortiz 641:David Peñalosa 632: 630: 627: 625: 622: 581: 580:Song structure 578: 559: 544: 529: 514: 491: 488: 484:Vocal Sampling 383: 380: 378: 375: 301:Bantu language 286:Joan Corominas 281: 278: 270:rumba flamenca 209:Argeliers León 204:coros de clave 174: 173: 163: 162: 158: 157: 155: 154: 149: 146: 141: 138: 134: 131: 130: 126: 125: 123:Rumba flamenca 120: 116: 115: 86: 82: 81: 75: 71: 70: 67:coros de clave 55: 51: 50: 42: 41: 26: 9: 6: 4: 3: 2: 4088: 4077: 4076:Dance in Cuba 4074: 4072: 4069: 4067: 4064: 4063: 4061: 4046: 4043: 4039: 4036: 4035: 4034: 4031: 4030: 4028: 4024: 4018: 4015: 4013: 4010: 4008: 4007:Spanish opera 4005: 4003: 4000: 3998: 3997:Punto guajiro 3995: 3993: 3990: 3988: 3985: 3983: 3980: 3978: 3975: 3973: 3970: 3968: 3965: 3963: 3960: 3958: 3955: 3953: 3950: 3948: 3945: 3943: 3940: 3939: 3937: 3933: 3927: 3924: 3922: 3919: 3917: 3914: 3912: 3909: 3905: 3902: 3901: 3900: 3897: 3895: 3892: 3890: 3887: 3885: 3882: 3880: 3877: 3876: 3874: 3870: 3860: 3857: 3855: 3852: 3850: 3847: 3845: 3842: 3840: 3837: 3835: 3832: 3830: 3827: 3825: 3822: 3820: 3817: 3815: 3812: 3810: 3807: 3805: 3802: 3801: 3799: 3797: 3793: 3786: 3782: 3779: 3777: 3774: 3772: 3769: 3765: 3762: 3761: 3760: 3757: 3753: 3750: 3748: 3745: 3744: 3743: 3740: 3736: 3733: 3732: 3731: 3728: 3726: 3723: 3721: 3718: 3716: 3713: 3711: 3708: 3706: 3703: 3701: 3698: 3696: 3693: 3691: 3688: 3686: 3683: 3681: 3678: 3676: 3673: 3671: 3668: 3666: 3663: 3661: 3658: 3656: 3653: 3651: 3648: 3647: 3645: 3643: 3639: 3631: 3628: 3626: 3623: 3621: 3618: 3617: 3616: 3613: 3611: 3608: 3604: 3601: 3599: 3596: 3594: 3591: 3590: 3589: 3586: 3584: 3581: 3579: 3576: 3574: 3573:Gaita zuliana 3571: 3569: 3566: 3565: 3563: 3559: 3553: 3550: 3548: 3545: 3543: 3540: 3538: 3535: 3533: 3530: 3528: 3525: 3523: 3520: 3518: 3515: 3513: 3510: 3508: 3505: 3503: 3500: 3498: 3495: 3493: 3490: 3488: 3485: 3483: 3480: 3478: 3475: 3473: 3470: 3469: 3467: 3465: 3461: 3451: 3448: 3446: 3443: 3441: 3438: 3436: 3433: 3431: 3428: 3426: 3423: 3421: 3418: 3416: 3413: 3412: 3410: 3408: 3404: 3398: 3395: 3393: 3390: 3388: 3385: 3383: 3380: 3378: 3375: 3374: 3372: 3370:Southern Cone 3368: 3362: 3359: 3355: 3352: 3350: 3347: 3346: 3345: 3342: 3340: 3337: 3335: 3332: 3330: 3327: 3323: 3320: 3318: 3315: 3314: 3313: 3310: 3308: 3305: 3303: 3300: 3299: 3297: 3295: 3289: 3283: 3280: 3278: 3277:Nueva canción 3275: 3273: 3270: 3268: 3265: 3263: 3260: 3259: 3257: 3255: 3251: 3245: 3242: 3240: 3237: 3235: 3232: 3230: 3227: 3223: 3220: 3218: 3215: 3213: 3210: 3208: 3205: 3204: 3203: 3200: 3199: 3197: 3195: 3191: 3183: 3180: 3179: 3178: 3175: 3173: 3170: 3168: 3165: 3164: 3162: 3158: 3148: 3145: 3143: 3140: 3138: 3135: 3133: 3130: 3128: 3125: 3124: 3122: 3120: 3116: 3110: 3107: 3105: 3102: 3100: 3097: 3095: 3092: 3090: 3087: 3086: 3084: 3082: 3078: 3072: 3069: 3067: 3064: 3062: 3059: 3057: 3054: 3052: 3049: 3046: 3042: 3040: 3037: 3033: 3030: 3028: 3025: 3023: 3020: 3018: 3017:Flamenco jazz 3015: 3013: 3010: 3008: 3005: 3003: 3000: 2999: 2998: 2995: 2993: 2990: 2988: 2985: 2983: 2982:Catalan rumba 2980: 2979: 2977: 2975: 2974:Spaniard folk 2971: 2965: 2962: 2960: 2957: 2955: 2952: 2950: 2947: 2945: 2942: 2940: 2937: 2935: 2932: 2931: 2929: 2927: 2923: 2919: 2918:Hispanosphere 2911: 2906: 2904: 2899: 2897: 2892: 2891: 2888: 2878: 2873: 2867: 2864: 2862: 2861:Catalan rumba 2859: 2857: 2854: 2852: 2849: 2847: 2844: 2843: 2841: 2837: 2831: 2828: 2826: 2823: 2821: 2818: 2816: 2813: 2811: 2808: 2806: 2803: 2802: 2800: 2796: 2792: 2785: 2780: 2778: 2773: 2771: 2766: 2765: 2762: 2756: 2753: 2751: 2748: 2746: 2743: 2741: 2739: 2734: 2732: 2729: 2727: 2724: 2722: 2719: 2717: 2714: 2713: 2700: 2691: 2682: 2673: 2664: 2657: 2651: 2643: 2641:9789766401184 2637: 2633: 2632: 2624: 2622: 2612: 2603: 2596: 2590: 2583: 2580: 2574: 2567: 2561: 2552: 2543: 2536: 2530: 2522: 2516: 2512: 2505: 2498: 2494: 2489: 2482: 2476: 2469: 2464: 2456: 2454:9780520247109 2450: 2446: 2445: 2437: 2421: 2417: 2410: 2402: 2400:9781617036705 2396: 2392: 2391: 2383: 2376: 2372: 2366: 2359: 2355: 2352: 2346: 2338: 2334: 2330: 2326: 2322: 2318: 2311: 2304: 2303:Music in Cuba 2298: 2289: 2280: 2271: 2262: 2253: 2251: 2242: 2240:9781610658881 2236: 2232: 2231: 2223: 2215: 2213:9780520247109 2209: 2205: 2204: 2196: 2187: 2180: 2175: 2167: 2163: 2159: 2155: 2151: 2145: 2137: 2135:9788446012344 2131: 2127: 2126: 2118: 2110: 2108:9780822971856 2104: 2100: 2099: 2091: 2089: 2080: 2074: 2070: 2065: 2064: 2055: 2053: 2044: 2042:9780275966829 2038: 2034: 2033: 2025: 2023: 2013: 2011: 2009: 2007: 1999: 1993: 1984: 1977: 1971: 1963: 1959: 1955: 1951: 1948:(1): 92–123. 1947: 1943: 1936: 1934: 1926: 1925:1-886502-80-3 1922: 1918: 1912: 1904: 1897: 1895: 1887: 1886:1-4537-1313-1 1883: 1879: 1873: 1865: 1863:9781592133871 1859: 1855: 1851: 1847: 1846: 1838: 1830: 1823: 1821: 1812: 1810:9781457101410 1806: 1802: 1801: 1796: 1790: 1782: 1778: 1774: 1767: 1765: 1756: 1754:9780822971856 1750: 1746: 1745: 1737: 1729: 1722: 1714: 1709: 1708: 1699: 1691: 1678: 1662: 1655: 1639: 1635: 1629: 1621: 1617: 1613: 1606: 1598: 1596:9780275966829 1592: 1588: 1587: 1579: 1572: 1571: 1564: 1562: 1553: 1552: 1544: 1536: 1530: 1526: 1519: 1517: 1508: 1506:9780253209481 1502: 1498: 1493: 1492: 1483: 1475: 1473:9781135900083 1469: 1465: 1464: 1456: 1454: 1452: 1443: 1439: 1433: 1429: 1416: 1410: 1406: 1396: 1395:Rumberas film 1393: 1391: 1388: 1386: 1383: 1382: 1376: 1374: 1370: 1366: 1362: 1359: 1355: 1354:juego de maní 1349: 1341: 1337: 1335: 1326: 1322: 1320: 1319: 1314: 1310: 1306: 1302: 1293: 1289: 1281: 1277: 1275: 1271: 1267: 1262: 1259: 1250: 1235: 1220: 1211: 1207: 1205: 1201: 1194: 1189: 1175: 1171: 1162: 1160: 1156: 1152: 1142: 1139: 1136:Contemporary 1130: 1122: 1118: 1116: 1111: 1108: 1104: 1095: 1083: 1071: 1059: 1049: 1045: 1043: 1039: 1029: 1026: 1023: 1018: 1014: 1012: 1008: 1004: 994: 990: 988: 984: 980: 975: 964: 962: 958: 954: 950: 949:Yoruba Andabo 946: 945:Pancho Quinto 939: 937: 933: 929: 926:. Using both 925: 921: 920:Alberto Zayas 914: 912: 908: 903: 901: 900: 895: 890: 883:Modernization 880: 876: 872: 868: 864: 855: 853: 849: 845: 844:Alberto Zayas 841: 837: 833: 829: 823: 814: 812: 808: 804: 795: 785: 781: 776: 774: 770: 761: 751: 747: 742: 732: 730: 726: 722: 718: 714: 710: 705: 701: 696: 694: 690: 686: 682: 678: 674: 670: 665: 662: 658: 654: 650: 643: 637: 621: 619: 615: 611: 606: 604: 600: 595: 591: 587: 577: 575: 571: 570:guide pattern 562: 547: 532: 517: 505: 496: 487: 485: 481: 477: 473: 469: 465: 461: 457: 453: 449: 445: 441: 437: 433: 429: 425: 422:; bells, and 421: 417: 413: 409: 405: 401: 397: 393: 389: 374: 372: 368: 364: 360: 356: 352: 348: 344: 340: 336: 332: 327: 325: 321: 317: 313: 309: 304: 302: 297: 295: 291: 287: 284:According to 277: 275: 274:Catalan rumba 271: 267: 263: 259: 255: 249: 247: 243: 239: 235: 234: 229: 225: 220: 218: 214: 213:rumba complex 210: 206: 205: 200: 196: 192: 188: 184: 180: 172: 168: 164: 159: 153: 150: 147: 145: 142: 139: 136: 135: 132: 127: 124: 121: 117: 114: 110: 106: 102: 98: 94: 90: 87: 83: 80: 76: 72: 69: 68: 63: 59: 56: 52: 48: 43: 38: 33: 19: 4012:Spanish jazz 3935:Other genres 3729: 3537:Puerto Rican 2790: 2737: 2699: 2690: 2681: 2672: 2663: 2655: 2650: 2630: 2611: 2602: 2594: 2589: 2581: 2578: 2573: 2565: 2560: 2551: 2542: 2534: 2529: 2510: 2504: 2496: 2488: 2480: 2475: 2467: 2463: 2443: 2436: 2424:. Retrieved 2422:(in Spanish) 2419: 2409: 2389: 2382: 2365: 2345: 2320: 2316: 2310: 2302: 2297: 2288: 2279: 2270: 2261: 2229: 2222: 2202: 2195: 2186: 2178: 2174: 2157: 2153: 2144: 2124: 2117: 2097: 2062: 2031: 1997: 1992: 1983: 1975: 1970: 1945: 1941: 1916: 1911: 1902: 1878:Rumba Quinto 1877: 1872: 1850:Philadelphia 1844: 1837: 1828: 1799: 1789: 1781:Rough Guides 1772: 1743: 1736: 1727: 1721: 1706: 1698: 1677:cite journal 1665:. Retrieved 1654: 1642:. Retrieved 1637: 1628: 1619: 1615: 1612:"Rumbantela" 1605: 1585: 1578: 1570:AfroCuba Web 1568: 1550: 1543: 1524: 1490: 1482: 1462: 1441: 1432: 1409: 1369:breakdancing 1350: 1346: 1331: 1316: 1304: 1300: 1299:The guagua ( 1298: 1286: 1273: 1263: 1258:bell pattern 1248: 1233: 1225: 1209: 1196: 1191: 1168: 1150: 1148: 1135: 1112: 1106: 1101: 1035: 1027: 1019: 1015: 1010: 1006: 1000: 991: 981:("rhumba"), 973: 970: 941: 916: 913:as follows: 910: 909:, describes 906: 904: 897: 893: 886: 877: 873: 869: 865: 861: 824: 820: 802: 793: 783: 782:evolved the 779: 777: 772: 768: 759: 745: 744: 716: 712: 708: 703: 699: 697: 692: 688: 676: 672: 668: 666: 660: 645: 639: 634: 607: 602: 598: 593: 585: 583: 560: 545: 530: 515: 507: 410:such as the 385: 370: 346: 338: 334: 328: 305: 298: 293: 283: 250: 237: 231: 228:polyrhythmic 223: 221: 212: 202: 178: 177: 65: 4033:Latin music 3957:Contradanza 3849:Tecnocumbia 3824:New Chilean 3809:Bullerengue 3665:Cha-cha-cha 3598:jalisciense 3588:Mexican Son 3472:Alternative 3435:Nuevo tango 3334:Duranguense 3282:Nueva trova 3127:Alternative 3081:Latin urban 2939:Carnavalito 1622:(VII): 305. 1334:cross-beats 953:portmanteau 852:Los Papines 448:double bass 371:rumba final 242:conga drums 183:Cuban music 4060:Categories 4017:Villancico 3899:Latin jazz 3872:Afro-Latin 3829:Panamanian 3759:Son cubano 3552:Venezuelan 3512:Latin rock 3507:Ecuadorian 3167:Chamarrita 3160:Litoraleña 3147:Panamanian 3137:Moombahton 3043:Isa (from 2825:Batá-rumba 2798:Sub-genres 2520:0822331977 2160:(2): 238. 1888:. p. xxii. 1777:London, UK 1667:August 16, 1425:References 1159:batá-rumba 1011:arrumbados 932:tumbadoras 899:batá-rumba 836:Chano Pozo 700:barracones 677:cuarterías 649:Afro-Cuban 502:See also: 480:a cappella 476:batá-rumba 468:Chano Pozo 428:son cubano 266:son cubano 238:tumbadoras 152:batá-rumba 89:Tumbadoras 4038:subgenres 3977:Pasacalle 3952:Christian 3942:Aguinaldo 3814:Colombian 3804:Argentine 3781:Vallenato 3752:romántica 3735:Guaguancó 3615:Zamacueca 3568:Chacarera 3547:Uruguayan 3527:Nueva ola 3502:Dominican 3492:Colombian 3477:Argentine 3445:Bandoneon 3267:Colombian 3254:Latin pop 3244:Zamacueca 3222:Toro Mata 3142:Neoperreo 3119:Reggaeton 3066:Tajaraste 3061:Pasodoble 3056:Malagueña 2815:Guaguancó 2595:Timba.com 1358:Brazilian 1188:Guaguancó 1182:Guaguancó 1103:Descargas 778:From the 464:big bands 460:idiophone 367:guarachas 351:guarachas 280:Etymology 217:guaguancó 144:guaguancó 129:Subgenres 3894:Candombe 3834:Peruvian 3725:Pachanga 3720:Méringue 3715:Merengue 3705:Guaracha 3690:Cuarteto 3680:Charanga 3670:Champeta 3642:Tropical 3625:Marinera 3593:huasteco 3532:Peruvian 3430:Neotango 3377:Candombe 3354:Ranchera 3344:Mariachi 3307:Conjunto 3292:Regional 3229:Marinera 3172:Guarania 3132:Bachatón 3071:Zarzuela 3012:Cantiñas 3007:Bulerías 2997:Flamenco 2992:Fandango 2954:Morenada 2944:Diablada 2810:Columbia 2426:June 24, 2354:Archived 2337:40800960 1998:AfroCuba 1797:(2005). 1551:La rumba 1440:(1974). 1379:See also 1365:flamenco 1361:capoeira 1318:erikundi 1214:Columbia 1107:rumbitas 974:rumberos 961:pachanga 717:orfeones 454:and the 440:conjunto 414:and the 343:changüís 339:rumbitas 335:guajiros 331:polysemy 294:La rumba 191:Matanzas 167:Matanzas 140:columbia 4026:Related 3982:Pasillo 3962:Criolla 3916:Milonga 3859:Cachaca 3854:Villera 3819:Mexican 3764:montuno 3700:Guajira 3675:Changüí 3660:Calypso 3650:Bachata 3603:jarocho 3542:Spanish 3522:Mexican 3487:Chilean 3482:Chicano 3420:Milonga 3392:Milonga 3329:Grupera 3312:Norteño 3302:Corrido 3294:Mexican 3272:Mexican 3234:Tondero 3207:Festejo 3182:Chamamé 3104:R&B 3089:Hip hop 3002:Alboreá 2934:Bambuco 2597:(2000). 1573:. p. 3. 1373:hip hop 1301:cáscara 1151:solares 1022:chekeré 959:" and " 957:guarapo 928:cajones 729:Calabar 689:solares 681:Malanga 673:solares 669:solares 624:History 618:montuno 603:décimas 599:decimar 590:refrain 572:called 452:trumpet 424:cajones 416:maracas 412:chekeré 408:shakers 404:palitos 394:drums: 359:zapateo 308:Kikongo 290:rhombus 258:soukous 233:Cajones 224:solares 113:cajones 109:chekeré 105:palitos 3992:Pregón 3972:Décima 3921:Tambor 3911:Mapalé 3796:Cumbia 3695:Danzón 3655:Bolero 3610:Tonada 3583:Joropo 3361:Trival 3349:Jarabe 3322:Tejano 3317:Nortec 3262:Ballad 3099:Reggae 2949:Huayno 2926:Andean 2820:Tahona 2638: 2517: 2499:. Web. 2483:. DVD. 2451: 2397: 2335: 2237: 2210: 2132: 2105: 2075: 2071:–272. 2039: 1962:780245 1960: 1923: 1884: 1860: 1807: 1751: 1644:15 May 1638:UNESCO 1593: 1531: 1503: 1470: 1313:congas 1309:bamboo 1305:palito 1270:Abakuá 1204:makuta 1155:Abakuá 1145:Styles 1057:Play 1 1007:toques 936:congas 840:Panart 811:tahona 725:Abakuá 614:claves 490:Rhythm 450:, the 446:, the 396:quinto 388:claves 355:tonada 324:Angola 318:, the 254:rhumba 195:Abakuá 187:Havana 171:Havana 101:guagua 97:claves 93:quinto 58:Abakuá 4066:Rumba 3987:Plena 3967:Danza 3884:Bomba 3839:Porro 3776:Trova 3771:Timba 3742:Salsa 3730:Rumba 3710:Mambo 3685:Conga 3630:Zamba 3620:Cueca 3517:Metal 3497:Cuban 3407:Tango 3397:Murga 3382:Cueca 3339:Banda 3212:Landó 3094:House 3039:Folia 3032:Soleá 3027:Saeta 2987:Copla 2964:Tinku 2805:Yambú 2791:Rumba 2736:See: 2333:JSTOR 1958:JSTOR 1401:Notes 1165:Yambú 1138:timba 1115:songo 1042:mambo 987:salsa 924:clave 704:rumba 610:canto 594:diana 586:diana 574:clave 456:piano 420:güiro 392:conga 179:Rumba 137:yambú 40:Rumba 18:Yambú 4002:Seis 3747:dura 3578:Gato 3464:Rock 3425:Vals 3239:Vals 3109:Trap 3051:Jota 2959:Saya 2636:ISBN 2584:(9). 2515:ISBN 2449:ISBN 2428:2015 2395:ISBN 2235:ISBN 2208:ISBN 2130:ISBN 2103:ISBN 2073:ISBN 2037:ISBN 1921:ISBN 1882:ISBN 1858:ISBN 1805:ISBN 1749:ISBN 1690:help 1669:2016 1663:: 55 1646:2024 1591:ISBN 1529:ISBN 1501:ISBN 1468:ISBN 1371:and 1202:and 1200:yuka 1003:batá 985:and 955:of " 834:and 721:yuka 711:and 472:batá 444:tres 400:catá 357:and 322:and 199:yuka 197:and 189:and 79:Cuba 62:yuka 60:and 3844:Rap 2325:doi 2162:doi 2069:257 1950:doi 1620:VII 1303:or 1038:son 683:to 438:'s 4062:: 2620:^ 2418:. 2331:. 2321:31 2319:. 2249:^ 2158:28 2156:. 2087:^ 2051:^ 2021:^ 2005:^ 1956:. 1944:. 1932:^ 1893:^ 1852:: 1848:. 1819:^ 1779:: 1763:^ 1713:58 1681:: 1679:}} 1675:{{ 1636:. 1614:. 1560:^ 1515:^ 1499:. 1497:18 1450:^ 1241:, 1087:, 1075:, 1063:, 989:. 620:. 553:, 523:, 326:. 276:. 169:, 111:, 107:, 103:, 99:, 95:, 91:, 3787:) 3783:( 3047:) 2909:e 2902:t 2895:v 2783:e 2776:t 2769:v 2644:. 2582:7 2523:. 2457:. 2430:. 2403:. 2369:" 2339:. 2327:: 2243:. 2216:. 2168:. 2164:: 2138:. 2111:. 2081:. 2045:. 1964:. 1952:: 1946:3 1866:. 1813:. 1757:. 1715:. 1692:) 1688:( 1671:. 1648:. 1599:. 1537:. 1509:. 1476:. 1249:8 1234:8 1093:4 1081:3 1069:2 934:( 794:4 760:8 561:4 546:8 531:4 516:4 240:( 34:. 20:)

Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.

Index