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Statements

Subject Item
dbr:Bomba_(Puerto_Rico)
rdf:type
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Bomba (musica) Bomba (Puerto Rico) Bomba (música) Bomba Bomba (gênero musical)
rdfs:comment
La bomba est un genre musical et une danse qui s'est développée à la fin du XVIIe siècle à Porto Rico, dans des régions où des esclaves de l'Afrique occidentale et leurs descendants ont vécu et travaillé, typiquement sur les plantations coloniales qui étaient courantes le long des plaines côtières, et en particulier la ville de Loiza. Bomba é um dos estilos musicais tradicionais de Porto Rico. É a mistura das três culturas diferentes da ilha, a africana, a espanhola e a taína. A base rítmica é feita com dois ou mais tambores. Enquanto "bomba" pode ser usado como um nome genérico para uma série de ritmos, o seu verdadeiro significado é o encontro e relação criativa entre dançarinos, percussionistas e cantores. Bomba é uma atividade comunitária que ainda prospera nos seus centros tradicionais em Loíza, Santurce, Mayagüez, Ponce e em Nova Iorque. Bomba is both a traditional dance and musical style of Puerto Rico. Its origins are rooted in the island's history of African slavery but today has evolved into a community expression of Puerto Rican culture. While Bomba can be used as the generic name for a number of rhythms, it is truly about a creative, interactive relationship between dancers, percussionists and singers. Today it's practiced as a communal activity in its centers of origin in Loíza, Santurce, Mayagüez and Ponce. Also, Puerto Rican migrants have brought the tradition to some parts of the U.S. mainland. La bomba è un genere musicale tipico di Porto Rico ma di antiche origini africane. Le basi musicali furono importate dagli schiavi africani ghanesi e nigeriani che durante il periodo coloniale vennero obbligati a trasferirsi sull'isola per lavorare sotto la corona spagnola. Il ritmo della bomba è scandito da una serie di percussioni a mano a da maracas; la danza è parte integrante della musica. Altri strumenti utilizzati per suonare la bomba sono i palitos e il güiro. Nella canzone La Bomba di Ricky Martin sono presenti alcuni ritmi autentici della bomba mischiati ad altre influenze latine. La Bomba es la primera música autóctona de Puerto Rico, creada en las haciendas azucareras por los africanos esclavizados.
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Bomba
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Bomba
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Afro-Puerto Rican rhythms
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n7:Baile_De_Loiza_Aldea.gif?width=300
dbp:caption
Dancing Bomba and Plena
dbo:abstract
La Bomba es la primera música autóctona de Puerto Rico, creada en las haciendas azucareras por los africanos esclavizados. Bomba is both a traditional dance and musical style of Puerto Rico. Its origins are rooted in the island's history of African slavery but today has evolved into a community expression of Puerto Rican culture. While Bomba can be used as the generic name for a number of rhythms, it is truly about a creative, interactive relationship between dancers, percussionists and singers. Today it's practiced as a communal activity in its centers of origin in Loíza, Santurce, Mayagüez and Ponce. Also, Puerto Rican migrants have brought the tradition to some parts of the U.S. mainland. Puerto Rican Bomba is the first native music of Puerto Rico, created in the sugar plantations by slaves more than 400 years ago. African slaves were brought to Puerto Rico by the Spaniards during the 1600s. The slaves came from different African tribes and through this music, they could communicate. It is Puerto Rican because it has elements of the Taínos (Arawaks) like the maraca and Cuás (2 wooden sticks previously played at the side of the Bomba Barrel), the Spanish like the footsteps in the dancing and the greatest influence of is the African native. This represents the Puerto Rican cultural mix. In Bomba, there are 4 instruments: a Cuá, a Maraca, the Buleador drum and the Subidor drum. In the Batey (sugar workers' town) or a Sobera'o (circle or dance area), the Subidor will score sounds for the steps that the dancer makes, and the Buleador or Follower, follows the rhythm that is constantly played until the “Cantador/a” (singer) says so. The dancer enters the Batey to stroll around, showing off, marking their territory and space. The dancer greets the Primo Barrel and begins its “Piquetes” (improvised Bomba steps). The dancer, with his/her “Piquetes” would be creating his/her own music and history, inspired by the song. Also, the dancer challenges the Primo Barrel Player (“Tocador/a”) by doing a rhythmic dialogue and making it difficult to follow him/her. Finally, when the dancer finishes providing the “Piquetes”, bows again to the Primo Barrel and the next dancer does exactly the same protocol. The “Piquetes” must have "elegance, firmness and shape." The "figures" are the “Piquetes” that must be executed with "elegance" and "firmness". During the dance, sometimes the audience shouts "Speak!". This is because the dancer is having a musical conversation or communication with the Bomba Drum (Primo) through his/her “Piquetes”. Traditionally, “Bailadores” (male dancers) perform their “Piquetes” with their body and the “Bailadoras” (female dancers) perform with the body and / or skirt with the petticoat. The Bomba traditional dress for men is white hat, white shirt and black or white pants. The women used to wear turbans, white shirt and skirt with petticoat. Petticoats were handmade to show them off in a flirtatious way for men and to create envy among other female dancers. How to hold and use skirt in the Bomba dancing is unique. This is because the dancer is having a musical conversation or communication with Dresser through their pickets. In the beginning, the barrel was called Bomba and that is where the name of this old traditional music comes from. They created the barrel from the barrels the Spaniards brought the slaves to fill the rum made in the Puerto Rican plantations in times of slavery. The leather that is used is goat. The female goat leather is used for the Primo Barrels for its sound is sharper and the masculine is used for the Buleador Barrels so that the sound is more grave. The Primo Barrel is smaller and less wide so that it has a high-pitched sound and allows the Dancer's Pickets to stand out. On the other hand, the Buleador Barrel is made larger and wider so that the sound is grave. Landowners allowed the slaves to play Bomba when they wanted and those few times, they led them because that was how they could "forget" that they were enslaved and heal their pain. With the Bomba, they healed their pains, did weddings and rebellion, fighting against the landowners and labor exploitation, they used it to their religions (Explanation Note: The Bomba is cultural and not religious, if they used it for their religions, that was their decision but this was not originally made for religion causes), in short, everything. There are also French, Dutch and English elements. The "Seises de Bomba" ("Bomba Sixes") (songs) is divided into verses and choruses alternated, and the verses are improvised according to the story or theme song. In these songs, there were the events of everyday life are recounted. The public must always repeat the chorus after each verse. Important families of Bomba in Puerto Rico are the Cepeda of Santurce, Ayala of Loíza, the Alduén of Mayagüez, among others. Brothers Emmanuelli Náter (José, Jorge and Victor, students and friends of the Cepeda) with their Center for Cultural Research of Eternal Roots (Centro de Investigación Cultural Raíces Eternas) (CICRE in Spanish) created in Puerto Rico during the 90 so-called "Bombazos". They were devoted to “get down” the Bomba from the high stage, so that the Puerto Ricans and everybody else had more participation and learning in this folklore music. Thanks to this, today there are “Bombazos” in many parts of Puerto Rico and the United States. These are the modern and evolved version of the ancient dances of Bomba. Today it is emerging “Bombazo Generation” thanks to this. There are 16 rhythms of Bomba, but 6 primary, and these derive others are Sicá ("walking"), Yubá (slow pace of feeling, sadness and courage and played mostly for the elderly, regional of Cataño and Santurce), Cuembé (flirtatious and sensual rhythm, mostly danced in pairs, regionally of Santurce and Cataño), Seis Corrido (formerly called Rulé, the rapid pace and only regional of Loíza), Corvé (only regional of Loíza) and “Holandés” (fast rhythm and regional of Mayaguez and Cataño). Sicá derivatives are Bambulaé, Danué, Calindá, Paule, Gracimá, Balancé, Cocobalé, Cunyá and Belén (this last rhythm was mostly played when the Bomba dance was performing his last song of the night). Yubá derivatives are Leró (rhythm mostly played in southern Puerto Rico) and Mariandá. The derivative of Cuembé is the Güembé (rhythm mostly played in southern Puerto Rico). So, there are others like the “Hoyo ‘e Mula”, “Alimá”, among others. Bomba é um dos estilos musicais tradicionais de Porto Rico. É a mistura das três culturas diferentes da ilha, a africana, a espanhola e a taína. A base rítmica é feita com dois ou mais tambores. Enquanto "bomba" pode ser usado como um nome genérico para uma série de ritmos, o seu verdadeiro significado é o encontro e relação criativa entre dançarinos, percussionistas e cantores. Bomba é uma atividade comunitária que ainda prospera nos seus centros tradicionais em Loíza, Santurce, Mayagüez, Ponce e em Nova Iorque. La bomba è un genere musicale tipico di Porto Rico ma di antiche origini africane. Le basi musicali furono importate dagli schiavi africani ghanesi e nigeriani che durante il periodo coloniale vennero obbligati a trasferirsi sull'isola per lavorare sotto la corona spagnola. Il ritmo della bomba è scandito da una serie di percussioni a mano a da maracas; la danza è parte integrante della musica. Altri strumenti utilizzati per suonare la bomba sono i palitos e il güiro. Nella canzone La Bomba di Ricky Martin sono presenti alcuni ritmi autentici della bomba mischiati ad altre influenze latine. La bomba est un genre musical et une danse qui s'est développée à la fin du XVIIe siècle à Porto Rico, dans des régions où des esclaves de l'Afrique occidentale et leurs descendants ont vécu et travaillé, typiquement sur les plantations coloniales qui étaient courantes le long des plaines côtières, et en particulier la ville de Loiza.
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