This represents a transformation of the traditional sound to new styles related to migration (the Puerto Rican diaspora in the US).

Bomba also is composed by three or more singers and a solo singer, the singing has a dynamic similar to those of "Son" where the lead singer sings a chorus and the other responds, and in between choruses the lead singer will improvise a verse. Sugar plantations were placed along the coast, which is the reason la Bomba is is spread out along the sea. The Bomba traditional dress for men is white hat, white shirt and black or white pants. Today it's practiced as a communal activity in its centers of origin in Loíza, Santurce, Mayagüez and Ponce. Known as the dance of slaves, this dance was usually performed on sugar planatations. The high pitch drum is called "subidor" (riser) or "primo" (first), and the low pitch drums are called "buleador" and "segundo" (second). Known as the dance of slaves, this dance was usually performed on sugar planatations. portal, Berkeley: Bay Area Puerto Ricans bring bomba to La Peña, "Loíza: The Heart of Puerto Rico's Black Culture", "Los Pleneros de la 21: Afro-Puerto Rican traditions", "Listening to salsa: gender, Latin popular music, and Puerto Rican cultures", Centro de Estudios Puertorriqueños - Bomba events, Hispanic-influenced music in the Philippines, https://en.wikipedia.org/w/index.php?title=Bomba_(Puerto_Rico)&oldid=987029759, Articles with unsourced statements from May 2016, Articles with unsourced statements from December 2013, Articles containing Spanish-language text, Creative Commons Attribution-ShareAlike License, Barton, Halbert. The dancer greets the Primo Barrel and begins its “Piquetes” (improvised Bomba steps). [11] Rafael Cortijo took Bomba to the mainstream with his Combo in the 1950s and 1960s. Bibliography. The slaves came from different African tribes and through this music, they could communicate. The traditional drums used in bomba are called barriles, since they have long been built from the wood of barrels. Sugar plantations were … According to Roberto, Mayelá is a neighborhood on another island of the Antilles. The Reilly and Britton Co: Chicago, 1912. Bomba is described to be a challenge/connection between the drummer and the dancer. Up until the 1940s and 1950s, Bomba was heavily racialized and associated as premodern and Black.

Credits. [1] Dance is an integral part of the music: The drum called "Primo" replicates every single move of the dancer, this is called "Repique". La Bomba is a traditional dance form on the island of Puerto Rico. There are several styles of bomba, and the popularity of these styles varies by region. 3D Print:  Daandruff. The "figures" are the “Piquetes” that must be executed with "elegance" and "firmness". Bomba is a dialogue between the dancer and drummer. Bomba is a transnational music, dance, and song popularized in the United States and across the world. Plena has only one basic rhythm, in contrast to bomba´s sixteen rhythms. The women used to wear turbans, white shirt and skirt with petticoat. Willie Colón adds occasional bomba breaks to his songs, most particularly in sections of his biggest solo hit, "El gran varón". In the spirit of Sankofa -looking to your past for a better future- BombaYo members draw from the bomba tradition to enrich their lives and embrace their cultural legacy. Although the origins are a little scarce it's easy to spot the elegance and poise of the Spanish Flamenco and the energy and soul of African dances.[1]. Salsa. Licensed under the Creative Commons – Attribution license. During the 1800s there were several documented accounts of the use of Bomba as a rebellion tool against the slave owners, and organizational methods for initiating slave rebellions. So, there are others like the “Hoyo ‘e Mula”, “Alimá”, among others. Not less important are the "Cuás" that are two wooden sticks banged on a wooden surface and a large Maraca that keeps time. There are three basic rhythms and many others that are mainly variations of these three, they are: "sica", "yuba", and "holandés". "When Bomba Becomes The National Music of the Puerto Rico Nation...", Dudley, Shannon. Not less important are the "Cuás" that are two wooden sticks banged on a wooden surface and a large Maraca that keeps time. Yubá derivatives are Leró (rhythm mostly played in southern Puerto Rico) and Mariandá.

Notes.