Cuban Music Culture and Society Term Paper

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The Influence of Afro-Cuban Cultural Forms on Cuba’s Music from Slavery to Present

Introduction

Both Spain and Africa have played an important part in establishing the cultural forms of Cuban customs and heritage, and as such each has impacted and influenced Cuban music in a big way. However, because no culture is static, changes to Cuban customs and culture have occurred and these too can be reflected in Cuba’s music. Examining Cuba’s music over time from the days of slavery to now can reveal a story in and of itself of the history of Cuba. This selection of songs from the Cuba’s rich library of music will show how Cuban music has been influenced by Afro-Cuban cultural forms from slavery to today.

Esteban Salas y Castro

Born on Christmas Day in Cuba in 1725, Esteban Salas y Castro composed religious works for the Church. His Baroque style owes more to the Italian traditions than to any African ones, but as a Catholic composing music for the Church this should be no surprise. However, Esteban Salas y Castro was able to incorporate some elements of the Cuban style into his works, such as the layering of multiple voices one over the top of the other in a practice that would become a staple of Cuban music.

Here, as one can see in the song “Gloria, laus et honor,” the cultural form is primarily European. This culture was very important in Cuba’s history, however. Cuba even today in spite of the Communist takeover in the 20th century remains 60% Catholic. The Christian influence, culture, sounds and forms from Spain and Italy were a huge influence on Cuba—just as much so as the African influence that would later come to be more pronounced in Cuba’s secular music.

Manuel Saumell Robredo

Manuel Saumell is responsible for developing the creole sound in Cuban music in the 19th century. Cuban music nationalism begins with him. Born in Havana in 1818, he experienced love and loss at a young age, and this undoubtedly informed his sense of how passion can inform the life—particularly the life of a young Cuban.

As Carpentier (2001) notes, "Saumell is absolutely prophetic in fixing certain rhythms which would be mined in the future under different names. [He] is the father not only of the contradanza but also the habanera (the prima of La Amistad), danzón (La Tedezco), the guajira (segunda of La Matilde), the criolla (the segunda of La Nené), [and] the clavé (La Celestina)” (p. 192). In the contradanza “La Suavecita,” one can hear the influence that this father of Cuban nationalism provided by bringing in the sounds of the Yoruba rhythms and the creole melodies to create that unique Cuban blend—a passionate departure from the highly European forms of Esteban Salas y Castro.

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Ignacio Cervantes

Born in Havana in 1847, Cervantes became a leader in the nationalization of Cuban music, further developing the creole sounds establishd by…

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…1950s, the mood in the Americas was back to being all about having fun and enjoying life. In Mambo No. 5, one can hear the Congo rhythms and the Spanish maracas mixing it all up for the dancers on the floor to have a good time.

Rosendo Ruiz

The chachacha built on the Mambo and became another form of Cuban dance music. This one was designed to reflect much more the desire of the dancers to be in rhythm, to dance, and to explore the passionate feelings of bodies in motion. The chachacha reflected the same cultural values of the 1950s in Cuba—a need to have fun and to invite fun. Though the Cuban Revolution was in view, the conflict with America was also coming. Castro would take power in Cuba in 1959 and close down the fun for the American Mafia—part of the reason the CIA wanted to overthrow Castro.

Ruiz’s chachacha indicates just how sensual and sophisticate the Congo rhythms had become in Cuban music. Cuba had changed, had grown up since the 1900s. It was now a new culture—one that wanted to stand on its own. Chachacha reflected that spirit of independence and confidence. It exuded that spirit with every beat.

Conclusion

Cuban music transformed immensely over the course of two centuries—just as its culture did. The changes in culture were reflected in the changes in musical development. From the European Baroque stylings of Esteban Salas y Castro to the Mambo….....

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