Afro-Cubans (Spanish: Afrocubano) or Black Cubans are Cubans of full or partial sub-Saharan African ancestry. The term Afro-Cuban can also refer to historical or cultural elements in Cuba associated with this community, and the combining of native African and other cultural elements found in Cuban society, such as race, religion, music, language, the arts and class culture.[2]
According to the 2002 national census that surveyed 11.2 million Cubans, 1 million or 11% of Cubans identified as Afro-Cuban or Black. Some 3 million identified as "mulatto" or "mestizo", meaning of mixed race, primarily a combination of African and European.[4] Thus more than 40% of the population on the island affirm some African ancestry.
The Cuban Revolution brought to power Fidel Castro, who promised a communist society without racism. His government promised equal opportunities for education, health care and work.
There has been much scholarly discussion about the demographic composition of the island. A study by the Institute for Cuban and Cuban-American Studies at the University of Miami estimated the proportion of people as having some black ancestry is more likely about 62%.[5] They note that complex attitudes toward racial identification, and the de facto racial hierarchy that has existed on the island, have influenced the lower figures of self-identification as black.[5][6]
In Cuba, there are many terms to classify Afro-Cubans of varying portions of African descent, related to the historic Spanish casta system. In addition, in current society, classification may simply be made based on visible attributes; thus, a person who looks white is likely classified as white, especially if educated and middle class.[5]
By contrast, in the contemporary United States, a 2010 Harvard study showed that the practice of hypodescent classification persists. That is, biracial persons are typically classified by others as belonging to the race or ethnicity with lower social status, even if their ancestry is majority European. They found that persons with up to 69% European ancestry and the remainder African or African-American were still being classified as 'black'.[7][failed verification]
A DNA study in 2014 estimated the genetic admixture of the population of Cuba to be 72% European, 20% African and 8% Native American.[8]
Although Afro-Cubans can be found throughout Cuba, they comprise a higher proportion of the population in Oriente Province in Eastern Cuba than in other parts of the island. As the major city, Havana has the largest population of Afro-Cubans of any city in Cuba.[9]
In the 21st century, many native African immigrants have been going to Cuba, especially from Angola.[10] Also, immigrants from Jamaica and Haiti have been settling in Cuba. Most of them settle in the eastern part of the island, due to its proximity to their home countries, and further contributing to the already high percentage of ethnic blacks on that side of the island.[9]
The percentage of Afro-Cubans on the island increased after the 1959 Cuban revolution led by Fidel Castro, because there was mass migration from the island of the largely white (or ethnic European) Cuban professional class, who were subject to violence, takeovers and losing their businesses and property.[11]
The Minority Rights Group International says that "An objective assessment of the situation of Afro-Cubans remains problematic due to scant records and a paucity of systematic studies both pre- and post-revolution".[13]
Afro-Cuban descendants in Africa
During the 17th century, ex-slaves from Cuba and Brazil were transported to Africa to work for colonists as indentured servants or workers. They were taken largely to present-day Nigeria, the home of the Yoruba cultures, and Spanish Guinea (present-day Equatorial Guinea) home of the Fang and Bubi cultures.
In the 19th century, the former slaves were taken to Africa under the Royal Orders of September 13, 1845 (by way of voluntary arrangement). When there were an insufficient number of volunteers, the colonial government arranged a June 20, 1861, deportation from Cuba. In Spanish Guinea, the indentured servants became part of the Emancipados. In the area of present-day Nigeria, they were called Amaros.
Although the indentured workers were nominally free to return to Cuba when their tenure was over, most settled in these countries, marrying into the local African indigenous tribes.
Angola has had more recent immigrant communities of Afro-Cubans, known as Amparos. They are descendants of Afro-Cuban soldiers who were transported to serve as military in the country in 1975 as a result of Cuban involvement in the Cold War. Cuba's Prime Minister, Fidel Castro, deployed thousands of troops to the country during the Angolan Civil War to support a faction of society. As a result of this era, a small Spanish-speaking community formed in Angola of Afro-Cubans; they number about 100,000 persons.
Haitian Creole language and culture first entered Cuba with the arrival of immigrants from Saint-Domingue at the start of the 19th century. This was a French colony on the island of Hispaniola. The violence associated with the final years of the 1791–1804 Haitian Revolution resulted in a wave of ethnic French settlers fleeing to Cuba, and often taking numerous African slaves with them. These refugees settled mainly in the east, and especially Guantánamo. There the French later introduced sugar cane cultivation, and constructed sugar refineries. They also developed coffee plantations for another important commodity crop.
By 1804, some 30,000 Frenchmen were living in Baracoa and Maisí, the furthest eastern municipalities of the province. Later, Afro-Haitians continued to emigrate to Cuba to work as braceros (Spanish for "manual laborers") cutting cane in the fields and processing it during harvest. Their living and working conditions were not much better than under slavery. Although many workers had planned to return to Haiti, most stayed on in Cuba.
For years, many Haitians and their descendants in Cuba did not identify as such or speak Creole, which is based in French and African languages. In the eastern part of the island, many Haitians suffered discrimination among the majority Spanish speakers.
In the 21st century, classes in Haitian Creole are offered in Guantanamo, Matanzas and the City of Havana, in an effort to preserve the traditional language of the Afro-Haitians. There is also a Creole-language radio program.
Religion
Santería icons at an open place of worship in Havana. Santería is a syncretism practiced by many Afro-Cubans
Afro-Cubans are predominantly Roman Catholic, with minorities of Protestant. Afro-Cuban religion can be broken down into three main currents: Santería, Palo Monte and include individuals of all origins. Santería is syncretized with Roman Catholicism.
Since the mid-19th century, innovations within Cuban music have been attributed to the Afro-Cuban community. Genres such as son, conga, mambo and chachachá combined European influences with sub-Saharan African elements. Cuban music evolved markedly away from the traditional European model towards improvisational African traditions.[14] Afro-Cuban musicians have taken pre-existing genres such as trova, country and rap and added their own realities of life in a socialist country and as black persons. Genres like Nueva Trova are seen as live representations of the revolution and have been affected by Afro-Cuban musicians like Pablo Milanes who included African spirituals in his early repertory.[15] Music in Cuba is encouraged both as a scholarly exercise and a popular enjoyment. To Cubans, music and study of it are integral parts of the revolution.[16] Audiences are proud of mixed ethnicity that makes up the music from the Afro-Cuban community, despite there being a boundary of distrust and uncertainty between Cubans and Afro-Cuban culture.[16]
African music and Afro-Cuban music mutually exchanged rhythmic patterns, melodies, and cultural elements, creating a dynamic musical interchange. African artists, particularly those from the Democratic Republic of Congo and Angola fused Afro-Cuban musical influences with their traditions, crafting distinct sounds. The result was an array of genres popular in West and Central Africa namely Congolese rumba, soukous, mbalax, semba, kizomba, and highlife. [17]
Afro-Cubans celebrating Carnival while incorporating preserved African cultural practices. (1850)
Afro-Cuban music can be divided into religious and profane. Religious music includes the chants, rhythms and instruments used in rituals of the religious currents mentioned above. Profane music includes rumba, guaguancó, comparsa (carnival music) and lesser styles such as the tumba francesa. Virtually all Cuban music is influenced by African rhythms. Cuban popular music, and much of the art music, combines influences from Spain and Africa in ways unique to Cuba. For example son combines African instruments and playing styles with the meter and rhythm of Spanish poetic forms.[18] While much of the music is performed in cut-time, artists typically use an array of time signatures like 6/8 for drumming beats. On the other hand, clave uses a polymetric 7/8 + 5/8 time signature.[19]
Afro-Cuban arts emerged in the early 1960s with musicians spearheading an amateur movement bringing African-influenced drumming to the forefront of Cuban music. For example, Enrique Bonne's drumming ensembles took inspiration from Cuban folklore, traditional trova, dance music, and American Jazz. Pello de Afrokan created a new dance rhythm called Mozambique that increased in popularity after his predominantly afro-Cuban folklore troupe performed in 1964. Afro-Cuban artists Mario Bauzá and Frank Grillo, known as Machito, were influential figures in shaping the Afro-Cuban community and its music. Bauzá, a trumpeter and composer, pioneered the fusion of Afro-Cuban rhythms with jazz, giving rise to the Afro-Cuban jazz movement which gained considerable popularity in the United States, Europe, and the Caribbean in the mid 20th century.[20]
Before the revolution, authorities considered Afro-Cuban religious music a lesser culture; religious drummers were persecuted and instruments were confiscated.[21] After the revolution, Afro-Cuban music could be practiced more openly, but authorities were suspicious due to its relation to Afro-Cuban religions. The first revolutionary institution created for the performing "national folklore" (Afro-Cuban artistic traditions) was Conjunto Folklórico Nacional.[14] Despite official institutional support from the Castro's regime, Afro-Cuban music was treated mostly with ambivalence throughout the second half of the 20th century. Audiences looked down on traditional and religious Afro-Cuban music as primitive and anti-revolutionary,[14] music educators continued pre-revolutionary indifference toward afro-Cuban folklore, and the religious nature of Afro-Cuban music led to criticisms of the government's whitening and de-Africanization of the music.[clarification needed] Religious concerts declined, musical instruments related to Santería were confiscated and destroyed, afro-Cuban celebrations were banned outright, and strict limits were placed on the quantity of religious music heard on the radio and television.[21] These attitudes softened in the 1970s and 1980s as the afro-Cuban community began to fuse religious elements into their music. In the 1990s, Afro-Cuban music became a mainstay of Cuba's tourism economy. Members of religious groups earned their living by performing and teaching ritual drumming, song, and dance, to tourists visiting the country.
Rap was adopted in 1999 and solidified with the rise of hip-hop group Orishas. Cuban hip-hop focused on criticism of the Cuban state and the global economic order, including racism, colonialism, imperialism, and global capitalism.[22]
Language
Other cultural elements considered to be Afro-Cuban can be found in language (including syntax, vocabulary, and style of speech).
The Afro-Cuban religions all maintain some degree of use of African languages. Santería and Abakuá both have large parts of their liturgy in African languages (Lucumí and Ñañigo, respectively) while Palo uses a mixture of Spanish and Kikongo, known as Habla Congo.
According to anthropologists dispatched by the European Union, racism is entrenched in Cuba.[23] Afro-Cubans are systematically excluded from positions in tourism-related jobs, where they could earn tips in hard currencies.[23] According to the EU study, Afro-Cubans are relegated to poor housing, and African Cubans are excluded from managerial positions.[23]
Enrique Patterson, an Afro-Cuban journalist and former University of Havana professor of Marxist philosophy, describes race as a "social bomb" and says that "If the Cuban government were to permit Afro-Cubans to organize and raise their problems before [authorities] ... totalitarianism would fall".[24] Esteban Morales Domínguez, a professor at the University of Havana, says that "The absence of the debate on the racial problem already threatens ... the revolution's social project".[24]Carlos Moore, who has written extensively on the issue, says that "There is an unstated threat, Afro-cubans in Cuba know that whenever you raise race in Cuba, you go to jail. Therefore the struggle in Cuba is different. There cannot be a civil rights movement. You will have instantly 10,000 black people dead. [...] The government is frightened to the extent to which it does not understand African Cubans today. You have a new generation of Afro-Cubans who are looking at politics in another way."[24]Barack Obama's victory has raised disturbing questions about the institutional racism in Cuba.[23]The Economist noted "The danger starts with his example: after all, a young, Afro-cuban, progressive politician has no chance of reaching the highest office in Cuba, although a majority of the island's people are of mostly African descent"[25]
In the years between the triumph of the revolution and the victory at Playa Girón the Cuban government was one of the world's most proactive regimes in the fight against discrimination. It achieved significant gains in racial equality through a series of egalitarian reforms early in the 1960s. Fidel Castro's first public address on racism after his rise to power was on March 23, 1959, at a labor rally in Havana, less than three months after he defeated Fulgencio Batista. He is quoted as saying: "One of the most just battles that must be fought, a battle that must be emphasized more and more, which I might call the fourth battle--the battle to end racial discrimination at work centers. I repeat: the battle to end racial discrimination at work centers. Of all the forms of racial discrimination the worst is the one that limits the colored Cuban's access to jobs. "[26] Castro pointed to the distinction between social segregation and employment, while placing great emphasis on correcting the latter. In response to the large amount of racism that existed in the job market, Castro issued anti-discrimination laws. In addition, he attempted to close the class gap between wealthy white Cubans and Afro-Cubans with a massive literacy campaign among other egalitarian reforms in the early and mid-1960s.[27] Two years after his 1959 speech at the Havana Labor Rally, Castro declared that the age of racism and discrimination was over. In a speech given at the Confederation of Cuban Workers in observance of May Day, Castro declared that the "just laws of the revolution ended unemployment, put an end to villages without hospitals and schools, enacted laws which ended discrimination, control by monopolies, humiliation, and the suffering of the people."[28] Although inspiring, many would consider the claim to be premature."[29]
Research conducted by Yesilernis Peña, Jim Sidanius and Mark Sawyer in 2003, suggests that social discrimination is still prevalent, despite the low levels of economic discrimination.[30] After considering the issue solved, the Cuban government moved beyond the issue of racism. His message marked a shift in Cuban society's perception of racism that was triggered by the change in government focus."[29] The government's announcement easily allowed the Cuban public to deny discrimination without first correcting the stereotypes that remained in the minds of those who grew up in a Cuba that was racially and economically divided. Many who argue that racism does not exist in Cuba base their claims on the idea of Latin American Exceptionalism. According to the argument of Latin American Exceptionality, a social history of intermarriage and mixing of the races is unique to Latina America. The large mestizo populations that result from high levels of interracial union common to Latin America are often linked to racial democracy. For many Cubans this translates into an argument of "racial harmony", often referred to as racial democracy. In the case of Cuba, ideas of Latin American Exceptionalism have delayed the progress of true racial harmony.[31]
In spite of all the promises and speeches by government leaders, racial discrimination against Afro-Cubans[32][33] continues to be a major Human Rights issue for the Cuban government,[34][35][36] even resulting in riots in Central Havana, a mostly black neighborhood in the capital.[37]
Most of the Latin population of Tampa in the 1950s was working class and lived in restricted areas, ethnic enclaves in the vicinity of Tampa's hundreds of cigar factories. African Cubans were tolerated to an extent in the Latin quarter (where most neighborhoods and cigar factories were integrated). Ybor City and its counterpart, West Tampa, were areas that bordered on other restricted sections-areas for U.S. blacks or whites only. In this Latin quarter, there existed racial discrimination despite its subtleness.[38]
During the 1920s and 1930s Cuba experienced a movement geared towards Afro-Cuban culture called Afrocubanismo.[39] The movement had a large impact on Cuban literature, poetry, painting, music, and sculpture. It was the first artistic campaign in Cuba that focused on one particular theme: African culture. Specifically it highlighted the struggle for independence from Spain, African slavery, and building a purely Cuban national identity. Its goal was to incorporate African folklore and rhythm into traditional modes of art.
History of the movement
The movement evolved from an interest in the rediscovery of African heritage. It developed in two very different and parallel stages. One stage stemmed from European artists and intellectuals who were interested in African art and musical folk forms.[40] This stage paralleled the Harlem Renaissance in New York, Négritude in the French Caribbean, and coincided with stylistic European Vanguard (like Cubism and its representation of African masks). It was characterized by the participation of white intellectuals such as Cubans Alejo Carpentier, Rómulo Lachatañeré, Fortunato Vizcarrondo, Fernando Ortiz and Lydia Cabrera, Puerto Rican Luis Palés Matos and Spaniards Pablo Picasso and Roger de Lauria. The African-inspired art tended to represent Afro-Cubans with cliché images such as a black man sitting beneath a palm tree with a cigar.
Poems and essays by Afro-Cuban writers began to be published in the 1930s in newspapers, magazines and books, where they discussed their own personal heritage. Afro-Cuban and Afro-Cuban heritage artists such as Nicolás Guillén, Alberto Arredondo and Emilio Ballagas brought light to the once-marginalized African race and culture. It became a symbol of empowerment and individuality for Afro-Cubans within the established Western culture of the Americas.[41]
This empowerment became a catalyst for the second stage to be characterized by Afro-Cuban artists making art that truly reflected what it meant to be Afro-Cuban. Beginning in the 1930s this stage depicted a more serious view of black culture like African religions and the struggles associated with slavery. The main protagonist during this stage of the movement was Nicolás Guillén.[42]
Results of the movement
The lasting reputation of the Afrocubanismo movement was the establishment of a New World art form that used aesthetics from both European and African culture.[43] Although the actual movement of Afrocubanismo faded by the early 1940s, Afro-Cuban culture continues to play a vital role in the identity of Cuba. It has been the Cuban Revolution that opened up a space for extended research of African ethnic roots in Cuba.[44] The rhetoric of the Revolution incorporates black history and its contribution as an important stratum of Cuban identity. The Revolution has funded many projects that restore the work of Afro-Cubans in an effort to accommodate an African-driven identity within the new anti-racist Cuban society.[45]
Javier Vázquez — songwriter, arranger, and pianist with Sonora Matancera; son of Pablo "Bubú" Vázquez Gobín and brother of Elpidio Vázquez, he succeeded Lino Frías on piano as a member of Sonora Matancera
Juan Gualberto Gómez — 1890s revolutionary leader, close collaborator of José Martí; served as a member of the committee of consultations that drafted and amended the Constitution of 1901 and as a Representative and Senator
Mariana Grajales — part of the Cuban Independence War; Antonio Maceo's mother
Yuniel Dorticos - Boxer:two-time cruiserweight world champion, having held the WBA title from 2017 to 2018 and the IBF title from 2019 to September 2020.
Yoan Pablo Hernández — professional boxer; he held the unified IBF and Ring magazine cruiserweight titles between 2011 and 2015, as well as the WBA interim cruiserweight title in 2011.
Kid Chocolate — boxer; former World Featherweight and Junior Lightweight Champion
Orestes Kindelán — most prolific home run hitter in the history of amateur Cuban baseball
↑ "Archived copy"(PDF). www.one.cu. Archived from the original(PDF) on 3 June 2014. Retrieved 11 January 2022.{{cite web}}: CS1 maint: archived copy as title (link)
↑ "Archived copy"(PDF). www.one.cu. Archived from the original(PDF) on 3 June 2014. Retrieved 11 January 2022.{{cite web}}: CS1 maint: archived copy as title (link)
↑ "Archived copy"(PDF). www.one.cu. Archived from the original(PDF) on 3 June 2014. Retrieved 11 January 2022.{{cite web}}: CS1 maint: archived copy as title (link)
↑ Lopez, Antonio (2012). Unbecoming Blackness: The Diaspora Cultures of Afro-Cuban America. NYU Press. p.4. ISBN978-0-8147-6547-0.
↑ "Cuba – Afro-Cubans". World Directory of Minorities and Indigenous Peoples. Minority Rights Group International. 2008. Retrieved 29 December 2013.
1 2 3 Moore, Robin (2006). "Black Music in a Raceless Society: Afrocuban Folklore and Socialism". Cuban Studies. 37: 1–32. doi:10.1353/cub.2007.0009. S2CID144443322– via WorldCat Discovery Service.
↑ Benmayor, Rina (1981). "La "Nueva Trova": New Cuban Song". Latin American Music Review. 2 (1): 11–44. doi:10.2307/780148. JSTOR780148– via WorldCat Discovery Service.
1 2 Garland, Phyl (1977). "Cuban Music: An Instrument of the Revolution". The Black Scholar. 8 (8–10): 16–24. doi:10.1080/00064246.1977.11413920– via WorldCat Discovery Service.
↑ Guevara, Gema R. (2005). "Narratives of Racial Authority in Cuban Popular Music". Journal of Popular Music Studies. 17 (3): 255–274. doi:10.1111/j.1524-2226.2005.00045.x– via WorldCat Discovery Service.
↑ King, Anthony (1961:14). Yoruba Sacred Music from Ekiti. Ibadan University Press.
1 2 Moore, Robin (2006). Music and Revolution: Cultural Change in Socialist Cuba. Berkeley: University of California Press. p.199. ISBN9781423789666.
↑ Saunders, Tanya (2012). "Black Thoughts, Black Activism: Cuban Underground Hip-Hop and Afro-Latino Countercultures of Modernity". Latin American Perspectives. 39: 42–60. doi:10.1177/0094582X11428062. S2CID146195152– via WorldCat Discovery Service.
↑ Black Cuban, Black American. Houston, Texas: Arte Publico Press, 130. Print.
↑ Arnedo-Gómez, M. "Introduction." Writing Rumba. Charlottesville: University of Virginia Press, 2006: 1.
↑ "Afrocubanismo", Encyclopedia of World Literature in the 20th Century. Ed. Lenard S Klein. Continuum: Continuum Publishing Company, 2008: 20.
↑ Moore, R. "The Minorista Vanguard: Modernism and Afrocubanismo." Nationalizing Blackness: Afrocubanismo and artistic Revolution in Havana, 1920-1940. Pittsburgh: University of Pittsburgh Press, 1997:200.
↑ Henken, T. "Cuban Literature-The Avant-Garde vs the Vanguard: Colonial Literature", in Cuba: A Global Studies Handbook. Santa Barbara: ABC_CLIO, 2008: 363.
↑ "Literature of the Revolutionary Era", Encyclopedia of Cuba: People, history, culture. Ed. Luis Martinez Ternandez. Wesport: Greenwood Press, 2003: 345.
↑ Rodríguez-Mangual, E. "Introduction", Lydia Cabrera and the Construction of an Afro-Cuban Cultural Identity. Chapel Hill: The University of North Carolina Press, 2004: 17.
Arnedo-Gómez, Miguel. "Introduction", Writing Rumba: The Afrocubanista Movement in Poetry. Charlottesville: University of Virginia Press. 2006: 1–170.
Duno-Gottberg, Luis, Solventando las diferencias: la ideología del mestizaje en Cuba. Madrid, Iberoamericana – Frankfurt am Main, Vervuert, 2003.
Finch, Aisha and Fannie Rushing (eds.), Breaing the Chains Forging the Nation: The Afro-Cuban Fight for Freedom and Equality. Baton Rouge, LA: Louisiana State University Press, 2019.
García, Cristina. "Introduction", Cubanismo! New York: Vintage Books, 2002: 1–364.
"Literature of the Recolutionary Era", Encyclopedia of Cuba: People, history, culture. Ed. Luis Martinez Ternandez 1st Vol. Wesport: Greenwood Press, 2003: 345–346.
Henken, Ted. "Cuban Literature-The Avant-Garde vs the Vanguard: Colonial Literature," Cuba: A Global Studies Handbook Global Studies :Latin America & The Caribbean. Santa Barbara: ABC_CLIO, 2008: 363–385.
Moore, Robin D. "The Minorista vanguard: Moderism and Afrocubanismo" Nationalizing Blackness: Afrocubansimo and artistic Revolution in Havana, 1920–1940.Pittsburg: University of Pittsburgh Press, 1997: 195–200.
Ródriguez-Mangual, Edna M. "Introduction" Lydia Cabrera and the Construction of an Afro Cuban Cultural Identity. Chapel Hill: The University of North Carolina Press, 2004: 1–167.
"Afrocubanismo", Encyclopedia of World Literature in the 20th Century. Ed. Lenard S. Klein. 2nd ed. 4thvol. Continuum: Continuum Publishing Company, 1989: 20–21.
Celia Caridad Cruz Alfonso, known as Celia Cruz, was a Cuban singer and one of the most popular Latin artists of the 20th century. Cruz rose to fame in Cuba during the 1950s as a singer of guarachas, earning the nickname "La Guarachera de Cuba". In the following decades, she became known internationally as the "Queen of Salsa" due to her contributions to Latin music. She had sold over 10 million records, making her one of the best-selling Latin music artists.
Nicolás Cristóbal Guillén Batista was a Cuban poet, journalist and political activist. He is best remembered as the national poet of Cuba.
The music of Cuba, including its instruments, performance, and dance, comprises a large set of unique traditions influenced mostly by west African and European music. Due to the syncretic nature of most of its genres, Cuban music is often considered one of the richest and most influential regional music in the world. For instance, the son cubano merges an adapted Spanish guitar (tres), melody, harmony, and lyrical traditions with Afro-Cuban percussion and rhythms. Almost nothing remains of the original native traditions, since the native population was exterminated in the 16th century.
Bongos are an Afro-Cuban percussion instrument consisting of a pair of small open bottomed hand drums of different sizes. The pair consists of the larger hembra and the smaller macho, which are joined by a wooden bridge. They are played with both hands and usually held between the legs, although in some cases, as in classical music, they may be played with sticks or mounted on stands.
Buena Vista Social Club was a musical ensemble primarily made up of Cuban musicians, formed in 1996. The project was organized by World Circuit executive Nick Gold, produced by American guitarist Ry Cooder and directed by Juan de Marcos González. They named the group after the members' club of the same name in the Buenavista quarter of Havana, a popular music venue in the 1940s. To showcase the popular styles of the time, such as son, bolero and danzón, they recruited a dozen veteran musicians, some of whom had been retired for many years.
Afro-Cuban jazz is the earliest form of Latin jazz. It mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. Afro-Cuban music has deep roots in African ritual and rhythm. The genre emerged in the early 1940s with the Cuban musicians Mario Bauzá and Frank Grillo "Machito" in the band Machito and his Afro-Cubans in New York City. In 1947, the collaborations of bebop trumpeter Dizzy Gillespie and percussionist Chano Pozo brought Afro-Cuban rhythms and instruments, such as the tumbadora and the bongo, into the East Coast jazz scene. Early combinations of jazz with Cuban music, such as "Manteca" and "Mangó Mangüé", were commonly referred to as "Cubop" for Cuban bebop.
La Sonora Matancera is a Cuban band that played Latin American urban popular dance music. Founded in 1924 and led for more than five decades by guitarist, vocalist, composer, and producer Rogelio Martínez, musicologists consider it an icon of this type of music. Notable singers to have sung and recorded with the band include Bienvenido Granda, Daniel Santos, Myrta Silva, Miguelito Valdés, Leo Marini, Celia Cruz, Nelson Pinedo, Vicentico Valdés, Estanislao "Laíto" Sureda, Alberto Beltrán, Carlos Argentino, and Celio González.
Afro-Caribbean or African Caribbeanpeople are Caribbean people who trace their full or partial ancestry to Africa. The majority of the modern Afro-Caribbean people descend from the Africans taken as slaves to colonial Caribbean via the trans-Atlantic slave trade between the 15th and 19th centuries to work primarily on various sugar plantations and in domestic households. Other names for the ethnic group include Black Caribbean, Afro- or Black West Indian, or Afro- or Black Antillean. The term West Indian Creole has also been used to refer to Afro-Caribbean people, as well as other ethnic and racial groups in the region, though there remains debate about its use to refer to Afro-Caribbean people specifically. The term Afro-Caribbean was not coined by Caribbean people themselves but was first used by European Americans in the late 1960s.
A descarga is an improvised jam session consisting of variations on Cuban music themes, primarily son montuno, but also guajira, bolero, guaracha and rumba. The genre is strongly influenced by jazz and it was developed in Havana during the 1950s. Important figures in the emergence of the genre were Cachao, Julio Gutiérrez, Bebo Valdés, Peruchín and Niño Rivera in Cuba, and Tito Puente, Machito and Mario Bauzá in New York. Originally, descargas were promoted by record companies such as Panart, Maype and Gema under the label Cuban jam sessions. From the 1960s, the descarga format was usually adapted by large salsa ensembles, most notably the Fania All-Stars.
Frank Grillo known professionally as Machito, was a Latin jazz musician who helped refine Afro-Cuban jazz and create both Cubop and salsa music. He was raised in Havana with his sister, singer Graciela.
Israel López Valdés, better known as Cachao, was a Cuban double bassist and composer. Cachao is widely known as the co-creator of the mambo and a master of the descarga. Throughout his career he also performed and recorded in a variety of music styles ranging from classical music to salsa. An exile in the United States since the 1960s, he only achieved international fame following a career revival in the 1990s.
Candelario Orlando López Vergara, better known as Cachaíto, was a Cuban bassist and composer, who gained international fame after his involvement in the Buena Vista Social Club recordings. He was nicknamed Cachaíto after his uncle, the famous bassist and innovator of mambo music Israel "Cachao" López. His father and Cachao's older brother was Orestes López, also a famous bassist/multi-instrumentalist and composer.
Alfredo "Chocolate" Armenteros was a Cuban trumpeter. He played with artists such as Arsenio Rodríguez, Generoso Jiménez, Chico O'Farrill, Orchestra Harlow, Eddie Palmieri, Cachao and Sonora Matancera. Due to his characteristic approach to Afro-Cuban trumpet playing as well as his extensive recording career, several monographs have been written on his music.
Carlos Valdés Galán, better known as Patato, was a Cuban conga player. In 1954, he emigrated from La Habana to New York City where he continued his prolific career as a sideman for several jazz and Latin music ensembles, and occasionally as a bandleader. He contributed to the development of the tunable conga drum which revolutionized the use of the instrument in the US. His experimental descarga albums recorded for Latin Percussion are considered the counterpart to the commercial salsa boom of the 1970s. Tito Puente once called him "the greatest conguero alive today".
Black Hispanic and Latino Americans, also called Afro-Hispanics, Afro-Latinos, Black Hispanics, or Black Latinos, are classified by the United States Census Bureau, Office of Management and Budget, and other U.S. government agencies as Black people living in the United States with ancestry in Latin America or Spain and/or who speak Spanish and/or Portuguese as either their first language or second language.
Federico Arístides Soto Alejo, better known as Tata Güines, was a Cuban percussionist, bandleader and arranger. He was widely regarded as a master of the conga drum, and alongside Carlos "Patato" Valdés, influential in the development of contemporary Afro-Cuban music, including Afro-Cuban jazz. He specialized in a form of improvisation known as descarga, a format in which he recorded numerous albums throughout the years with Cachao, Frank Emilio Flynn, Estrellas de Areito, Alfredo Rodríguez and Jane Bunnett, among others. In the 1990s he released two critically acclaimed albums as a leader: Pasaporte and Aniversario. His composition "Pa' gozar" has become a standard of the descarga genre.
Afrocubanismo was an artistic and social movement in black-themed Cuban culture with origins in the 1920s, as in works by the cultural anthropologist Fernando Ortiz. The Afrocubanismo movement focused on establishing the legitimacy of black identity in Cuban society, culture, and art. The movement developed in the interwar period when white intellectuals in Cuba acknowledged openly the significance of African culture in Cuba. Afro-Cuban artistic expressions helped integrate the marginalized black community into mainstream Cuban society and art. Since its inception, Afro-Cuban Humanities has emerged as a major area of collegiate studies, and Afrocubanismo's influences can be seen in Cuban literature, painting, music, theater, and sculpture.
Miguelito Valdés, also known as Mr. Babalú, was a renowned Cuban singer. His performances were characterized by a strong voice and a particular sense of cubanismo.
Racism in Cuba refers to racial discrimination in Cuba. In Cuba, dark skinned Afro-Cubans are the only group on the island referred to as black while lighter skinned, mixed race, Afro-Cuban mulattos are often not characterized as fully black or fully white. Race conceptions in Cuba are unique because of its long history of racial mixing and appeals to a "raceless" society. The Cuban census reports that 65% of the population is white while foreign figures report an estimate of the number of whites at anywhere from 40 to 45 percent. This is likely due to the self-identifying mulattos who are sometimes designated officially as white. A common myth in Cuba is that every Cuban has at least some African ancestry, influenced by historical mestizaje nationalism. Given the high number of immigrants from Europe in the 20th century, this is far from true. Several pivotal events have impacted race relations on the island. Using the historic race-blind nationalism first established around the time of independence, Cuba has navigated the abolition of slavery, the suppression of black clubs and political parties, the revolution and its aftermath, and the special period.
Pedrito Martinez is a Cuban percussionist, drummer, singer, dancer, bandleader, songwriter, composer, and educator. He was born and raised in Havana, Cuba. He is a Cuban Conguero performing classic Cuban Rumbas, Afro-Cuban folkloric and religious music. He is a Santería priest. He came to the United States of America from Havana in 1998. He plays the Batá drum, conga, cajón, timbale, and bongo drums, among other percussion instruments. Pedrito learned his craft from the streets of Havana, Cuba. He has performed with Paquito D'Rivera, Arturo O'Farrill, Brian Lynch, and Bruce Springsteen. He settled in the New York City - New Jersey area in 1998.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
