Rumba, Rhumba, Rumba de salón - The term "rumba" in son-based genres

[davidpenalosa]

Arsenio brought to my attention an article on the subject of "rumba de salón" at:

www.geocities.com/aficionadolatino/salonrumba.html
This article has some interesting information, although I find its accuracy suspect. On the one hand, there’s clear typo errors.

excerpt:

"…eightteenth century, became a very favourite music.. "

The son emerged in the late 19th Century, not the late 18th Century. Still, this article or term paper, or whatever it is shouldn’t be dismissed out of hand. It is perhaps a good point of departure for a discussion about Cuban popular music.

There’s long been confusion over the terms "rumba" and "son". Through the advent of radio and the phonograph, the son spread beyond Cuba’s borders during the 20’s under the misnomer "rumba" and "rhumba". That’s what the article is referring to as "rumba de salón". It has nothing to do with the authentic folkloric rumba born in Matanzas and Havana.

When the son caught in the Congo, Congolese groups began playing Cuban covers, singing Spanish lyrics phonetically. This African-Cuban genre became known as "rumba" and was the prototype for soukous, which came later.

During Prohibition Cuban "jazz bands" entertained American tourists who wanted to party in Havana. These bands played popular music and were not jazz bands in the same sense we understand that term. In this article the author refers to these groups as "rumbabands".

excerpt:

"Beside these charanga-orchestras arose in 1920 the so-called rumbabands finding jobs in the new hotels and casinos and owing their clientele to a considerable extent to Prohibition in the United States (1920)."

I find it interesting that the article disputes the notion that rumba de salón is son rather than a rumba.

excerpt:

"About the relationship between the rumba de salón and the son finally a conclusive remark: American impressarios bringing Cuban rumbabands to the States in the thirties, are blamed for having given the name of rumba to what should have been named son. They might have done so as son means "male child" in English and as an indication of a music-style it might be confusing. Though this is right in itself, it deals with an incidental circumstance, making the indication of rumba by the impressarios correct; it was the Cubans who introduced the long existing rumba de salón under the name rumba to the United States."

OK, I’m ready to buy this, but then the author cites "El Manisero" (The Peanut Vendor) as a rumba de salón.

excerpt:

"In 1930 it was Don Azpiazú who introduced the rumba de salón again to the United States with the number "El Manisero" (The Peanut Vendor) by Moisés Simons. With "El Manisero" the rumba-rage started in the United States."

The "rhumba" "El Manisero" is simply a son, plain and simple. Therefore, the author completely undercuts their point.
-David

[guarachon63]

Thanks David for moving this topic and trying to make sense of it all.

I am up too early but I find this very interesting so I am going to try to make some brief points and then get back to sleep.

I think the author is Dutch, so the Engilsh is a bit shaky at times, but I see what he is trying to do, and that is clarify the dreaded issue of TERMINOLOGY!

We all know that the issue of terminology in Cuban music is a tremendous headache.

Son and rumba probably cause the most headaches, because of the influence and adaptability of folkloric rumba to son (I would argue that they have a lot to do with each other but never that son is "camouflaged rumba"), and then the whole son/rhumba/rumba de salón thing which is kept alive mostly by the ballroom dance crowd. (I remember years ago taking a ballroom dance class and learning to dance "rumba" to a David Bowie song.)

Though we may argue with some details, I think the relevant section of Broeke's article is here:

The rumbas de salón of these rumbabands were rhythmically speaking quick sones... Its show character was very important indeed. Since in Cuba the music originally played at parties for the accompaniment of erotic dances was called rumba, the sensually danced rumba de salón, particularly at shows in places of entertainment, is rightly called rumba. Therefore it is not contradictory to call a certain musical number, as far as the music and dance are concerned, a rumba, according to its contents a pregón (pedlar's song), and as to its rhythm a son.

It is incorrect to say that the rumbas de salón are actually not rumbas but sones, because two different aspects of one and the same music will then be mixed up; of a guaracha, guajira, criolla, bolero, afro or pregón grafted on son-rhythms one does not say they are actually sones, since these music styles are characterized by other, more important identifying marks.

To prevent confusion [HA!] the word son is added to the names of music-styles mentioned above, eg. the guajira-son. After being performed with son-rhythms and counted among the rumba-sones, the rumba de salón has not received any other name, but for brevity's sake it is often called rumba in as well as outside Cuba, bringing about a lot of confusion.

So here is why he argues you can have something like "El Manisero," which I think we can agree would more precisely be characterized as a "pregón-son," having the markers of both in lyrical content and rhythm, would be classified by some as a rumba by virtue of also being danced a certain way "particularly at shows in houses of entertainment."

So basically we have two different (though maybe not entirely different) styles of music and dance being called "rumba."

Confusing.

[davidpenalosa]

"El Manisero," which I think we can agree would more precisely be characterized as a "pregón-son,"
So basically we have two different (though maybe not entirely different) styles of music and dance being called "rumba."
Confusing.

guarachon6,
Yes, I'd say "pregón-son" is a precise classification. In the excerpt from that webpage I pasted below, they mention "rumbitas". That term has had several meanings over the years. It's what they originally called descargas (band jam sessions) and these days I've heard bata rhythms with a rumba influence called "rumbitas".
-David

"In the fields, on the sugar plantations and in the living quarters were arising chants, toques (drummusic with singing in honour of the gods) and dances to which the black population used to dedicate itself. In this way during the first half of the last century were growing up country dances like the cachirulo, calabazón, cariaco, chinchín, gavilán, síguemepollo and tumbantonio. In the accompanying singing allusions were being made to the mimicking, often erotic, gestures made by the dancing couples. Having become obsolete, these dances were called rumbas campesinas (country rumbas) or rumbitas (little rumbas). They were often accompanied by accordion, timbal criollo (creole kettledrum) and güiro (scrape calabash), or by bandurria (a sort of lute), tiple (a little bandurria) and güiro."

[arsenio]

Yes, Guys, the author is Dutch, it is A. Broeke and he wrote several books on Cuban music and did a lot of radio broadcasting.

I take the same quotation and instead of rumbitas, I will use the word "sones pantomímicos campesinos" for the same music and dance, or to put it quite clear, they are the same.....

"In the fields, on the sugar plantations and in the living quarters were arising chants, toques (drummusic with singing in honour of the gods) and dances to which the black population used to dedicate itself. In this way during the first half of the last century were growing up country dances like the cachirulo, calabazón, cariaco, chinchín, gavilán, síguemepollo and tumbantonio. In the accompanying singing allusions were being made to the mimicking, often erotic, gestures made by the dancing couples. Having become obsolete, these dances were called rumbas campesinas (country rumbas) or rumbitas (little rumbas). They were often accompanied by accordion, timbal criollo (creole kettledrum) and güiro (scrape calabash), or by bandurria (a sort of lute), tiple (a little bandurria) and güiro."

Yes, Guys if you use an accordion, as a disguised bass drum, and you play drum grooves on the bandurria and you have a timbal criollo, you have "3 drums", where did we see those 3 drums before........

greetings,
Arsenio

[davidpenalosa]

"In the fields, on the sugar plantations and in the living quarters were arising chants, toques (drummusic with singing in honour of the gods) and dances to which the black population used to dedicate itself. In this way during the first half of the last century were growing up country dances like the cachirulo, calabazón, cariaco, chinchín, gavilán, síguemepollo and tumbantonio. In the accompanying singing allusions were being made to the mimicking, often erotic, gestures made by the dancing couples. Having become obsolete, these dances were called rumbas campesinas (country rumbas) or rumbitas (little rumbas). They were often accompanied by accordion, timbal criollo (creole kettledrum) and güiro (scrape calabash), or by bandurria (a sort of lute), tiple (a little bandurria) and güiro."

Yes, Guys if you use an accordion, as a disguised bass drum, and you play drum grooves on the bandurria and you have a timbal criollo, you have "3 drums", where did we see those 3 drums before........

Arsenio,
Is that quoted paragraph your evidence that an accordion, bandurria and a timbal criollo played "disguised" rumba? If so, I have to say that I think you are reading a lot into it. Have you ever heard this "disguised" rumba, either live or on record?
-David

[davidpenalosa]

A bit more about this notion of rumba "hidden" within the music of son… I’m open to being convinced of this, but I’ll need some evidence. I think the notion is only true in a metaphorical or poetic way. Historically, Anthropologically and Sociologically though, it doesn’t fit.

European music and instruments did not provide a facade with which African music "hid" behind. It wasn’t like the Yoruba pantheon hiding behind a facade of Catholic saints as in Santeria. The mixing of European and African musical instruments and sensibilities is the result of the specific ethnic and cultural mixing that formed Cuba.

The three main original Cuban musical hybrids: rumba, son and danzón all emerged around the time that slavery ended (1880’s). We know about the danzón’s ancestors, but as for what the early rumba and son prototypes sounded like, we have only fragmented information. We do know though that these three distinct hybrids, ranging from the more African rumba, to the more European danzón express a unique Afro-Cuban sensibility. Despite the racism and class oppression, the hybrids developed within a culture where transplanted African music thrived. The danzón, born in Matanzas, is not expressing rumba, but another aspect (social class) of Cuba. The European-based melodies of the danzón are as much Cuban as clave is.

The guajeo is certainly a matter of African-based rhythmic patterns mixing with the European harmonic matrix. However, the use of repetitive rhythm in the construction of melody goes back to Africa. The ostinato melodies of the African lamellaphones, xylophones and stringed instruments share essential characteristics with the Cuban guajeo. The guajeo is not "hiding" Cuban drum music and the lush melodies of the Shona mbira are not "hiding" Shona drumming.
-David

[guarachon63]

I was checking and this topic is directly addressed (and discounted) by Robin Moore in his book "Nationalizing Blackness." I don't have the book with me at the moment nor the time now to post the quote, maybe someone else does.

From what I have been able to find on the web, the book that Arsenio quoted to back this up seems to deal primarily with afro-puerto-rican music, of which I know nothing about. Maybe there is a section from that book someone can quote relating to rumba.

There is no doubt that son was influenced by rumba when it came from the east to Havana, (btw, how that migration happened is debated, but it did occur and is not a "stereotype") but what I find suspect about the "disguised rumba" argument is that it ignores the very african-ness at the heart of son, musically as well as lyrically, that son itself was vigorously repressed for years by habanero authorities.

Also, it reduces son to some sort of subversive "trick" played on the cuban bourgoisie with a wink and a nod by musicians who would rather be playing rumba.

[davidpenalosa]

There is no doubt that son was influenced by rumba when it came from the east to Havana..

guarachon63,
My limited on-line research concurs. The "hidden" argument seems like a case of politically-motivated wishful thinking. I doubt very much if Robin Moore is a musicologist.

Some scholars speculate that the son aquired clave from rumba when the son migrated to Havana. That seems quite plausible to me. Also, the modernization of the son and its descendants has often involved the incorporation of rumba elements.
-David



Edited By davidpenalosa on 1159371696

[guarachon63]

I doubt very much if Robin Moore is a musicologist.

Just to clarify, Moore "discounts" the "hidden" argument, rejects it. I will try to dig up the paragraph and post it tonight.

Moore is a historian and musicologist, currently at UT Austin. If you are not familiar with his book "Nationalizing Blackness", I highly reccommend it, and apparently his new book is very good too:

Robin Moore Info

Saludos

[davidpenalosa]

Thanks for setting me straight. I had it backwards.
-david

[guarachon63]

Moore writes, in "Nationalizing Blackness" (beginning on p. 94):

"The emergence of son in the 1910's significantly widened the syncretic sphere mediating between realms of African- and Iberian -derived culture. It represented an important source of income and form of public recognition for many black musicians otherwise excluded from commercial performance.

Relative to other genres such as rumba and comparsa, son might be viewed as a concession by Afrocubans to dominant aesthetic norms. This assertion is contestable, however, given the frequent lyrical and stylistic allusions to African culture in such music.

[...]

Many other examples of connections between son and noncommercial Afrocuban music can be found. Son compositions from the 1910's on frequently refer to the rumba... They also emphasize the African rather than the Hispanic heritage of son performers and listeners...

[...]

In Cuba of the 1910's, African cultural retentions of any sort were considered "barbaric" or vulgar... The growing popularity of sones among the black and eventually white working classes thus caused considerable anxiety among those devoted to European music..."

I maintain that son is an Afrocuban music form which developed independently of, parallel to and was later influenced by rumba, but can in no way be considered a "disguised" rumba. (And in many cases, son is very flagrantly a rumba!)

saludos!

[Berimbau]

I've actually read Moore's book twice and rather enjoyed it.



Saludos,



Berimbau

[arsenio]

Guys,

It is a pitty that you do not understand the basics of Cuban Son, derived from the sonsitos or rumbitas guajiras and part of the show of Conjunto Folklorico National de Cuba:

Libreto y Asesoría Folklórica: Rogelio Martínez Furé.

Coreografía: Ana Luisa Cáceres.

Diseño de vestuario: Grecia Cuevas.

Diseño de Luces. Adrián Reyes.

Los guateques o fiestas de los campesinos cubanos se caracterizaron desde principios del siglo XIX por bailes como el Zapateo, Doña Joaquina, La Caringa y el Zumba Antonio, de coreografías y pasos sencillos pero donde desbordaban la coquetería ingenua y la alegre picardía con que el hombre de campo mitigaba las duras condiciones de vida. Lentamente, la cuerda pulsada de raigambre hispánica se maridaba con la polirritmia de estirpe africana generando sonsitos y rumbitas guajiras pletóricos de cubanías.

SONES

Libreto y Coreografía: Manolo Micler.

Diseño de Vestuario: Grecia Cuevas

Él son, originario de las provincias orientales de cuba. Sintetiza elementos de antecedentes africanos y españoles. Es uno de los géneros musicales y danzarios más populares en el Caribe y otras regiones de América y el mundo

Libreto y Asesoría Folklórica: Rogelio Martínez Furé

Coreografía: Rodolfo Reyes Cortes.

Diseño de Vestuario: María Elena Molinet

gr,
Arsenio.

[ralph]

Guys,

It is a pitty that you do not understand the basics of Cuban Son, derived from the sonsitos or rumbitas guajiras and part of the show of Conjunto Folklorico National de Cuba:

Él son, originario de las provincias orientales de cuba. Sintetiza elementos de antecedentes africanos y españoles. Es uno de los géneros musicales y danzarios más populares en el Caribe y otras regiones de América y el mundo

how is this new information, pertinent to the discussion at hand...who is arguing that son is not a afro-spanish hybrid?