WORKSHOPS
Lecture Demonstration Format
The Lecture Demonstration will cover the ensemble format of the following Afro-Cuban musical idioms: Bembe, Rumba, and Son. The process will include illustrating the various styles by playing them, and brief verbal explanations of the function of each instrument in the ensemble format.
Bembe
Bembe is a cultural, musical, religious, danceable celebration which was brought to Cuba by the Yorubas of West Africa. The Yorubas began arriving in Cuba in the early parts of the 16th century, and this migration later intensified in the early 18th century. Bembe came to Cuba in the bata drum ensemble format, comprised of three two headed religious drums, called Ana. The bata drum served to accompany a lengthy series of chants or prayers sung in call and response patterns, paying homage to various deities or Orishas. This series of chants-prayers-songs, which follow a very specific sequence depending on the nature of the celebration, commonly known as the Oru. In Cuba, Bembe became popularized or more assessable by the use of the chekere ensemble instrumentation, instead of bata drums, to accompany the chants, the Oru. The chekere ensemble format consists of three beaded gourds or chekeres, one bell, one conga drum, and vocals. Conjunto CÈspedes will play and explain the Bembe idiom using the chekere ensemble format.Rumba
Rumba is the first-born Afro Cuban musical idiom that was not considered part of a religious tradition. Its origins can be traced to the cultural and musical interaction between the peoples of the southern part of Spain and Cuba. The instrumentation of Rumba is typically three conga drums, one set of claves, one set of sticks(kata), and vocals sung in call and response pattern. Unlike Bembe which is sung in the Lucumi African dialect, Rumba is sung in Spanish, and some of the tonalities of the vocals, hint to having its origins in the flamenco style of Spain called rumba flamenca. The lyrical themes, the emphasis on the dance, the ironies, and the slang used in Rumba all reflect an idiom whose origins were the poor black urban areas of Cuba. The are numerous styles of Rumba, however they can be categorized into three groups; Guaguanco, Rumba Columbia, and Yambu.
Son
Son is the considered one of the most nationalistic of musical idioms, one which blends the use of the stringed instruments brought to Cuba from Spain, and the poly-rythmic structure inherent in all the various African musical styles that came to Cuba. Its birthplace is the Oriente province of Cuba and it is music to dance to, to inspire "on the spot poetry", to share the rural wisdom and ironies of the common people. The piece that is generally agreed is the "first" Son composed "Son de La Mateodora" dates back to 1553, though the broad base popularity of the Son, exploded in the late 18th century. The rhythms of the Son, have been key ingredients in the creation of the Mambo, the Cha-cha, the music commonly known as "salsa", and even the rhythmic structure of Latin Jazz. The Son ensemble can vary in its instrumentation ranging from one guitar or "tres" to a large ensemble with a full complement of horns and strings. Conjunto Céspedes will illustrate the Son ensemble "septeto format", featuring: tres guitar, 6 string guitar, bass, congas, bongos, guiro, clave, one trumpet and vocals.
Technical Needs
for lecture demonstration:
small guitar amplifiers(Roland jazz chorus)
small bass amplifier(GK)
8 microphones
minimally two monitors.
For additional workshop information and booking,
please contact Conjunto CÈspedes.
