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Bomba is the oldest of the dance music genres that flourished among the African
slaves in Puerto Rico during the 1700s. Its roots are traced to
ritual dance celebrations by the slaves working on the sugar plantations,
especially in coastal towns such as Loiza Aldea in the northern
area of the island around the city of San Juan. Traditionally the
rhythm is performed using bomba drums, barrel-shaped hand drums
similar to the Cuban conga drums but slightly shorter; cuá,
a pair of sticks on the side of a drum or long drum; and a single
maraca. In its purest form the rhythm is performed with up to three
bomba drums. Two play supporting patterns—burleador and seiguidora—
while the highest or requinto improvises throughout. The cuá
plays a one bar secondary pattern, while the maraca marks the basic
pulse. Originally these instruments accompanied dancers, who formed
a circle and took turns in solo dance as if in a dialogue between
dancer and drummer in a call-and-response pattern with a lead singer
and a chorus. Therefore, the elements of bomba seem to suggest a
more intimate knowledge of African rhythmic tradition. Today bomba
has been adapted as a popular dance style of Puerto Rico.
To familiarize yourself with bomba and the development of Afro
Puerto Rican music visit the following web site: http://pertout.customer.netspace.net.au//bomba.htm
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Answer the questions below:
1. List the basic characteristics of bomba.
2. Name the instruments used in bomba.
3. Listen to “El Bombón de Elena” or “Maquinolandera”
by Rafael Cortijo and identify the African rhythmic elements in
either of these compositions. |