Culture of Cuba

The culture of Cuba is a complex mixture of different, often contradicting, factors and influences. The Cuban people and their customs are based on African, European and indigenous American influences.

The music of Cuba, including the instruments and the dances, is mostly of European and African origin. Most forms of the present day are creolized fusions and mixtures of these two great sources. Almost nothing remains of the original Native traditions.

Fernando Ortíz, the first great Mexican folklorist, described Cuba's musical innovations as arising from the interplay ('transculturation') between African slaves settled on large sugarcane plantations and Spanish or Canary Islanders who grew tobacco on small farms. The African slaves and their descendants reconstructed large numbers of percussive instruments and corresponding rhythms. The great instrumental contribution of the Spanish was their guitar, but even more important was the tradition of European musical notation and techniques of musical composition.

African beliefs and practices are most certainly an influence in Cuba's music. Polyrhythmic percussion is an inherent part of African life & music, as melody is part of European music. Also, in African tradition, percussion is always joined to song and dance, and to a particular social setting. It is not simply entertainment added to life, it is life. The result of the meeting of European and African cultures is that most Cuban popular music is creolized. This creolization of Cuban life has been happening for a long time, and by the 20th century, elements of African belief, music and dance were well integrated into popular and folk forms.

The roots of most Afro-Cuban musical forms lie in the cabildos, self-organized social clubs for the African slaves, separate cabildos for separate cultures. The cabildos were formed mainly from four groups: the Yoruba (the Lucumi in Cuba); the Congolese (Palo in Cuba); Dahomey (the Fon or Arará). Other cultures were undoubtedly present, but in smaller numbers, and they did not leave such a distinctive presence. At the same time, African religions were transmitted from generation to generation throughout Cuba, Haiti, other islands and Brazil. These religions, which had a similar but not identical structure, were known as Lucumi or Regla de Ocha if they derived from the Yoruba, Palo from Central Africa, Vodú from Haiti, and so on. The term Santería was first introduced to account for the way African spirits were joined to Catholic saints, especially by people who were both baptized and initiated, and so were genuinely members of both groups. By the 20th century, elements of Santería music had appeared in popular and folk forms.

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