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Bomba Dance in Guaynabo, Puerto Rico. Bomba was developed in Puerto Rico during the early European colonial period. The first documentation of bomba dates back to 1797: botanist André Pierre Ledru described his impressions of local inhabitants dancing and singing popular bombas in Voyage aux îles de Ténériffe, la Trinité, Saint-Thomas, Sainte-Croix et Porto Ricco.
They specialize in Afro-Puerto Rican bomba and plena music and related dance forms. In addition to performing, they run a community-based, not-for-profit educational company dedicated to preserving and celebrating Puerto Rican traditional culture and "fostering the legacy and history of Puerto Rican artistic traditions of African and Creole ...
Puerto Rico's dance and music has emerged from the ritualized celebrations of the island's indigenous people to a diverse range of blended genres adapted from all over the world. Before the arrival of European explorers, the Taíno Indians, who were the island's first inhabitants, used music and dance for traditional celebrations. These ...
The music culture in Puerto Rico during the 16th, 17th, and 18th centuries is poorly documented. Certainly, it included Spanish troubadour, church music, military band music, and diverse genres of dance music cultivated by the jíbaros and enslaved Africans and their descendants.
1:30 p.m. ― Bembé Drum and Dance: Afro-Latino music and dance group offering classes for older children, teens and adults. ... Traditional Puerto Rican bomba y plena music with reggae influences.
The barril de bomba is a traditional drum used in bomba music of Puerto Rico. The barriles de bomba are built from the wood of rum storage barrels and goatskin, adjusted with tourniquets, screws, cuñas or wedges.
These influences are evident in the fields of dance and music, such as la bomba, la plena, and most recently in reggaeton, which is an Afro-Caribbean based Puerto Rican genre, as well as influences in Puerto Rican Spanish, and Puerto Rican cuisine.
Plena is played throughout Puerto Rico especially during special occasions such as the Christmas season, and as the musical backdrop for civic protests, due to its traditional use as a vehicle for social commentary. When plena is played the audience often joins in the singing, clapping, and dancing.