Africa

Contradanza

The contradanza is the first music that truly sounded Cuban: a European dance form into which 19th-century Cuban composers worked the habanera rhythm and the cinquillo. Contradanza is the name of both the music and the dance.

Contradanza

The contradanza is the first music that truly sounded Cuban: a European dance form into which 19th-century Cuban composers worked the habanera rhythm and the cinquillo. Contradanza is the name of both the music and the dance.

Casa de la Trova Matanzas

Matanzas has its own Casa de la Trova, reflecting the city's deep musical culture. Often called the "Athens of Cuba" for its cultural richness, Matanzas is the birthplace of Danzón, the stronghold of Rumba (particularly Yambú and Guaguancó), and home to the oldest living Abakuá and Arará traditions.

Casa de la Trova Matanzas

Matanzas has its own Casa de la Trova, reflecting the city's deep musical culture. Often called the "Athens of Cuba" for its cultural richness, Matanzas is the birthplace of Danzón, the stronghold of Rumba (particularly Yambú and Guaguancó), and home to the oldest living Abakuá and Arará traditions.

Casa de la Música

Casa de la Música is the premier live music venue in Havana for contemporary Cuban dance music. With locations in Miramar and Centro Habana, it became the central stage for Timba in the 1990s and remains essential to Havana's live music scene.

Casa de la Trova Matanzas

Matanzas has its own Casa de la Trova, reflecting the city's deep musical culture. Often called the "Athens of Cuba" for its cultural richness, Matanzas is the birthplace of Danzón, the stronghold of Rumba (particularly Yambú and Guaguancó), and home to the oldest living Abakuá and Arará traditions.

Rumba guaguancó

See also Rumba under dance

Columbia

Columbia is the fastest rumba style: a virtuosic solo dance with a 6/8 feel, traditionally danced by men and now by women too. Its hallmark is a playful, competitive dialogue between the dancer and the lead drum, the quinto.

Cha-Cha-Cha

Cha-cha-chá is a Cuban dance music rhythm created in 1953 by violinist and composer Enrique Jorrín while performing with the Orquesta América, a charanga ensemble based in Havana. It became one of the most successful Cuban music exports of the 20th century, spreading rapidly through Latin America, Europe, and North America.

Mexico

Mexico, and above all Mexico City, was where mambo conquered the world in the late 1940s. Here Pérez Prado recorded his mambos and Benny Moré became a star. Danzón is still danced there.

Casino

Casino is the Cuban partner dance born in the social clubs (casinos deportivos) of Havana in the 1950s. It is what Cubans call their own social dance — distinct from, and older than, what the rest of the world calls "salsa."

Casino

Casino is the Cuban partner dance born in the social clubs (casinos deportivos) of Havana in the 1950s. It is what Cubans call their own social dance — distinct from, and older than, what the rest of the world calls "salsa."

Casa de la Trova

The Casa de la Trova in Santiago de Cuba is the spiritual home of Cuban traditional music — Son, Bolero, Changüí, and Trova. Founded in 1968 on Calle Heredia in the heart of Santiago's historic center, it has been the gathering place for the city's musicians for over half a century.

Palo

Palo

Palo is an Afro-Cuban religion with various denominations that developed among Central African slaves and their descendants, particularly those of Congo and Bantu origin.
The Spanish word palo (“stick”) refers to the wooden sticks used in the construction of ritual altars—called la Nganga, el caldero, or la prenda.

Denominations (“Branches”) of Palo

• Mayombe (or Mallombe)
• Monte
• Briyumba (or Brillumba)
• Kimbisa

Practitioners

Priests and initiates of Palo are called:

• Paleros
• Tatas (male priests)
• Yayas (female priests)
• Nganguleros

Core Beliefs

The Palo belief system rests on two foundational pillars:

1. Honor of the spirits
2. Belief in natural / earth powers

All natural objects—especially sticks—are understood to contain spiritual power, typically connected to the spirits themselves. This differs from Santería and other Yoruba religions, whose orishas are more closely associated with human or anthropomorphic forms.

Distinctive Traits

• No deity-specific colors, clothing, or stylized dances (unlike Santería).
• Ritual emphasis on natural objects and the nganga.

Music in Palo Rituals

Palo music typically begins with wooden percussion, followed by drums and metal tools.

Wooden instruments:

• Catá
• Guaguá

Drums:

• Ngoma (conga-style drums)

Metal instruments:

• Cowbell
• Hoe
• Plow

Higher Deities and Syncretism

Nkuyu

Also known as: Mukudji, Nkuyu, Mañunga, Lubaniba, Lucero, Lucero Mundo, Remolino, Cuarto Vientos, Kbuyu

• Deity of forests and roads; a guide and balancer
• Guardian of cemetery entrances
• Associated with the moon
• Syncretized with Eleguá/Eshu (Yoruba) and the Holy Infant of Atocha

Kengue

Also known as: Mama Kengue, Yola, Tiembla Tierra, Pandilanga

• Sky Father and primordial creator
• Deity of knowledge and justice
• Equivalent to Obatalá (Yoruba)
• Syncretized with the Virgin of Mercy

Sarabanda

Also known as: Zarabanda, Rompe Monte

• Strong, forceful, willful deity
• Equivalent to Ogún (Yoruba)
• Associated with Saint Peter

El Christo Negro

• Black manifestation of Jesus Christ
• Considered all-powerful; all spirits bow to his authority
• Symbolically linked with black crows and black roosters

Mama Chola

Also known as: Chola Wengue

• Goddess of love, beauty, fertility, and prosperity
• Ruler of rivers and fresh water — all that flows, grows, and is renewed
• Equivalent to Oshún (Yoruba)
• Syncretized with Our Lady of Charity (La Virgen de la Caridad del Cobre), Cuba's patron saint

Yuka

Yuka is considered the oldest surviving Kongo-derived dance form in Cuba and the most direct ancestor of Rumba. Preserved by Congo-descent communities from the era of slavery onward, Yuka contains the movement vocabulary, the drum format, and the social dynamic that would eventually transform into one of Cuba's defining popular dance traditions.

Makuta

Makuta is a secular Kongo-derived dance of the Congo-descent communities of Cuba — vigorous, grounded, and celebratory. It belongs to the oldest layer of African-Cuban cultural expression and represents a direct continuation of Central African movement and musical traditions preserved across centuries of slavery and colonial life.

Yemayá

Yemayá is the Orisha of the sea and the mother of all Orishas. She governs the saltwater ocean and all living things within it. As mother, she is nurturing, protective — and when angered, devastating.

Changó

Changó (also written Shangó) is the Orisha of thunder, lightning, fire, and dance. He is one of the most powerful and widely venerated Orishas in the Lucumí/Yoruba tradition.

Egungun

Egungun is the Yoruba masquerade tradition honoring the collective ancestors — the Egun, the dead who remain present and active in the lives of the living. In Cuba, the Egungun tradition survived within the broader world of Santería (Regla de Ocha) and the related Arará and Abakuá communities, though in a form shaped by the specific conditions of the island.

Arará

Arará is a vibrant Afro-Cuban dance rooted in the religious and cultural traditions of the Dahomey people, characterized by rhythmic drumming, expressive movements, and deep spiritual significance.

Abakuá

Abakuá is an Afro-Cuban male secret society founded in 1836 in Regla, Havana, by enslaved and free Africans from the Cross River region (south-eastern Nigeria and Cameroon). Its ceremonies, drums, and masked íreme dancers deeply influenced rumba, especially columbia.

New York

In the 20th century New York was the second home of Cuban music. Here Afro-Cuban jazz and the mambo craze of the Palladium Ballroom were born, and later salsa.

Nigeria

Nigeria — home to the Yoruba, Igbo, and Efik peoples — is the single most influential African source for Afro-Cuban religion and dance. Enslaved Yoruba brought to Cuba preserved their cosmology through Santería, and their descendants' dances remain at the core of Cuban folkloric and popular movement vocabulary today.

Congo & Angola

Congo and Angola lie at the heart of the old Kingdom of Kongo. From this part of Central Africa came the Bakongo and other Bantu peoples who were brought to Cuba as enslaved people. Their heritage survives in Cuba in Palo Monte and in the dances makuta and yuka.

Congo & Angola

Congo and Angola lie at the heart of the old Kingdom of Kongo. From this part of Central Africa came the Bakongo and other Bantu peoples who were brought to Cuba as enslaved people. Their heritage survives in Cuba in Palo Monte and in the dances makuta and yuka.

Congo & Angola

Congo and Angola lie at the heart of the old Kingdom of Kongo. From this part of Central Africa came the Bakongo and other Bantu peoples who were brought to Cuba as enslaved people. Their heritage survives in Cuba in Palo Monte and in the dances makuta and yuka.

Cameroon

From the Cross River region, on the border of Cameroon and Nigeria, came the Ékpè society, from which the Abakuá grew in Cuba. The Kongo traditions (Palo Monte, makuta and yuka) come mainly from the area of Congo and Angola.