arsenio wrote:>>...popular Cuban music mostly derives from Kongo, Ewe-Fon and Abakua origin and not from Yoruba -origin, this picture is changing, but only recently.
arsenio wrote:1... the son-clave 2/3 is called Okpokolo (wood block in English) in the Ibo region of Nigéria.
2. The cinquillo which is part of Cuban danzon, danza derived from Ewe-Fon traditions in the Oriente, trans- mitted through Haïti.
3. I think Celia Cruz was of Yoruba origin she heavily influenced Cuban popular music by Sonora Mantacera, her style of singing reminds my of singing to the Orishas.
4. Yes, Sexteto Habanero used Yoruba influence, to some people the tango congo pattern used heavily in the 30s and the Ogun rthyme on Batà drums is the same.
5. Conclusion: Yoruba-Santeria influence is coming out to the surface in the 50s, f.e. by Mercidita Valdes and Celia Cruz, and this is no accident because Nigeria and the Yoruba are struggling for independence and this had a major impact on the Cuban Yorubas.
arsenio wrote:Guys,
I think my 2 articles are a confirmation of my positions.
First, The Yoruba-tradition was more or less absent from Cuban popular music and this changed during the 50s and especially after the revolution cullminating in Timba in the 90s.
Second, popular Cuban music mostly derives from Kongo, Ewe-Fon and Abakua origin and not from Yoruba -origin, this picture is changing, but only recently.
Third, the article on Dunham shows that under conditions of the afro american Jazz movement especially during the 40s en the 50s, afro-americans are starting to rediscover their African Roots by traveling to Cuba and investigating Afro-cuban culture, especially afro-cuban religions, out of this came the Cubop or Afro-Cuban Jazz during the 50s, more or less a Mambo-movement.
Forth, of course there is more to say about the Yoruba tradition going to New York, and yes, some important people have been neglected, but that does not change my theses or positions.
Fifth, the Yoruba-Santeria tradition is a very beautiful tradition and helps the Cubans to create a new sense of Afro-cuban identity during the 90s in Cuba, we get an Afro-Cuban Jazz Renaissance in Havana in this period and the center of this music is shifting from New York to Havana.
Ifa,
Arsenio.
Facundo wrote:1.
"The same goes for Yoruba music. There's no no discernible Yoruba influence in the structure of Cuban popular music. However, the quoting of Yoruba melodies and rhythms has been present in Cuban popular music at least as far back as Sexteto Habanero and the first phonographic records. "It definitely was happening well before the Revolution."
2.
Yoruba has been far better preserved in Cuba than any other African language and is far less creollzed than Ki Kong for example.
3.
..To a large extent, many of the African Cultures retained in Cuba exist as an adjunct to the Yoruba system.
4.
All in all, I think that before anyone can say their is "little discernible Yoruba influences in early popular music", the discerner must be evaluated. How familiar are they with all aspects of Yoruba music, how much do they understand the various African indigenous cultures? There is just too much evidence for me that runs contrary to your position on this issue. But then again, it is not a subject that I have deep interest.
arsenio wrote:Celia Cruz made an elpee dedicated to the Orishas together with Mercedita and Lazaro, she was dancing the steps of Ochun and Yemaya on stage, she was a Santera, her best kept secret.
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