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The Bomb Puerto Rico

The bomb is the Puerto Rican rhythm with stronger African ancestry is the bomb. Its name comes from a special drum called precisely "bomb". Over time, by extension, both musicians who bomb dancers were called bomberos. Born between African slaves condemned to work in the sugar cane fields. The plantations were generally near the coast and it is for this reason that the most "bombere" are those near the sea. It is commonly believed that the bomb back in the late eighteenth century, although only after the abolition of slavery (proclaimed in Puerto Rico in 1873) slaves could grow in freedom. Spread, therefore, even in urban areas, particularly in the island's capital, San Juan, where he was successful, especially among artisans. As far as the bomb has its rules, there are different styles and rhythms also depending on regional provenance. Among the most popular styles are to Santurce (also called Cangrejo), that of Loiza Aldea and what you identify with the area south of Puerto Rico. Santurce style (one of the main neighborhoods of the capital) is interpreted and handed down in particular by family Cepeda. Among its typical rhythms are sicá, holandè, yubà, gracimà, paulé and cuembé. Santurce style instruments are two barriles: one is called buleador and the other one is called first or subidor. The buleador (also called segundo, burleador or seguidor) has a low sound and make a steady rhythm, which is what follows the dancers. The first or subidor has a higher tone. Its rhythmic function is "repicar", or respond to steps or movements of the dancers. The dancers, in pairs or groups, follow the basic touch the buleador, while individually improvise creative movements in response to subidor. An important factor in the bomb is just the challenge that is established between the drum and the dancers (surely this the greatest affinity with that particular type of Cuban rumba called columbia). Other typical instruments are the cuas (two wooden stakes that are beaten against the flank of the buleador), and maraca (instrument of taina, which is traditionally the preserve of the singer or singer). Similarly to the rumba, the bomb begins with a vocal introduction followed by a chorus that moves in unison. The structure of the piece is repetitive and is based also on the responsorial form of typical African ancestry, can be performed either by a man from a woman. In both cases there is a solo singer who improvises and a chorus that responds. The bomb is always accompanied by dance. You can dance generally in pairs although there are exceptions. For example the lerò Variant (from the French "les roses") was once danced in a collective manner, while in holandè it comes to dance one at a time. So as it happened, for example, in puertorrican, bomb dances always begin with a paseo (known as "pasear la bomba"). The couple holding hands, enters the scene and tacking the basic step approaches the drums. At that point the man makes a turn around the checkers and give way so that you can approach the subidor for piquetear. In the next step the man approaches and, after another spin around the female, also challenge the percussion. Currently in the dances of bomb, there is a tendency to form a circle in which participants, singing in chorus, mark the basic step performed by buleador. From this circle, one at a time, all those who wish to challenge the tambor first. Santurce style the Lady plays sounds of barril with movements of her skirt, shoulders or knees, while the dancer does with the movements of the feet or arms. Loiza Aldea is definitely the Puerto Rican town where it is best kept to the tradition of the bomb, which is learned from generation to generation as part of a family tradition that belongs to the entire community. Among its main performers are groups such as Los Hermanos Ayala, Calabò and Los Mayombe. The tools used are the same as the ones used in Santurce: barriles, cuas and maraca. The rhythms are practised in Loiza seis corrido and the work detail (much like sicà and yubà, respectively, of Santurce, though played faster). Another feature of Loiza's bomb which is danced barefoot and never as a couple. The bomb is particularly widespread in the South of the island, particularly in the towns of Guayanilla, Ponce, Juana Diaz, Santa Isabel, Salinas, Guayama and Arroyo. One of the most famous musicians and dancers from Ponce, Don William Archeval, between the rhythms characteristic of this area, leró, gracimá, holandé mentions: güembé, calindá, yubá, belén, cunyá y mariandá. Among the most representative formations of this region are groups like Paracumbè and Bambaluè. The drums are played by them are larger than those used in Santurce and Loiza. The musicians usually play sitting on horseback. The barril of high-pitched sound is called primero and to sound serious called segundo. In the region between Guayanilla and Arroyo, only the ladies sing the bomb and is considered abusive man sing. The lead vocals throughout the song sounds a maraca. In the South the ball is always in pairs. The couple enters marking the basic step and then approach the drum and instructs him to play. This is done through a dialogue that the dancer entertains through movements of arms to which they relate, with the same function, the movements of the woman's skirt. Since the 50 's, the bomb is living a second youth turning from regional folk music to popular music. This phenomenon occurs when some orchestras including the Orquesta Panamericana, that of Mon Rivera and Rafael Cortijo y su Combo, insert this rip-roaring pace in their repertoire. In the following years begin to arise in Puerto Rico as in the United States, many groups interested in community boricua of ransom and to develop the art of bomb. For all those who wish to know more about the bomb, we report some unmissable: Carnival in Ponce, the Festival de Los Inocentes de Hatillo and the feast of St. James the Apostle in Loíza. At these events they organize veritable processions in which they appear colorful characters that use masks created by the popular imagination. Don't miss especially "El dia nacional de la Bomba" which is organized every year in Loiza Aldea. It is a large music festival, with concerts, exhibitions and even a race between the best musicians and dancers. A party full of charm and magic that goes on until the wee hours of the morning and that, to the sound of drums, revives local people their glorious past. Despite a certain rivalry, there is no doubt that many musicians have inspired both bomb salseros that of plena. Tite Curet Alonso, among others are: El Gran Combo de Puerto Rico, Eddie Palmieri, Jorge Millet, Richie Ray and Bobby Cruz, y Zaperoko Truko, Rubén Blades and the always amazing Willie Colón.

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