I came to Cuba
to learn all about rumba. It is a complex subject. And if I want to
do it someday, I'm going to have to go back
to basics. And it starts
with two wooden sticks. The only thing that will never change
in rumba is the clave, because the clave is the key. All Cuban music derives from it. Cuban music in general
is clave. Rumba without a clave
is unthinkable. The clave is the rhythmic pattern that guides the rumba
from start to finish. All the other instruments , vocals, vocals, and the way the drums
interact with each other, it's all clave based. The rumberos carry the clave
in their hearts. Forget about trumpet segments and complicated arrangements. This music is of
raw rhythmic complexity. This instrument resonates in depth, and we can only feel it. It comes from a tree, and the tree is a living thing. It has skin, and the skin
is alive too, because it came
from an animal. So it's a mix of
skin, tree, and somebody. It’s the perfect combination. That’s why she makes you
feel so much. These three things
give you power and energy.
I think the essence
of percussion is energy. The instrument is known to be a tube covered with skin. It is a way of moving energy. The way you
play energetically over time. This is the percussion. It is the element that invokes the song … the dance … it is the main guide, the physical expression … of the desires … of the intentions … It is a way of expressing
our culture. In traditional rumba, it
all starts with the clave. This is the key. This is what keeps
everyone on time. Then we add the katá, whose shuffle
is above everything, a bit like hi-hats. Then come the three percussions: the quinto, the 3-2 … and the tumbadora. The last two play
simple rhythms, which in themselves are
not very interesting.
But grouped together, they interact and form a melodic groove on which the quinto can
improvise and play solo. Add the katá to the mixture, and you are ready to go. On my way to Matanzas, Crispin brought me to La Marina , one of the
areas most closely linked to the birth of rumba. In the slums,
on the old docks, it is an amazing place. It’s unlike any
other place I’ve seen. Crispin had brought us there
to meet his friend Kolé and listen to some
really traditional songs. Rumba at home. Not the classic rumba,
the homemade rumba. When it comes to homemade rumba, some of the instruments
looked homemade too.
But it's all
part of the tradition. In colonial times , blacks were not allowed
to play drums for fear of mutinies, so they played on wooden boxes. We played rumba on
anything that could make noise: the fish boxes in the port! A bottle … but you had to remove the lid
so as not to break it. The rumberos are sassy. They do what they want. They can even play on the wall. As long as they
can get a rhythm out of it. Because in the end, they will play on the wall. You understand ? That’s why we say that
in black homes, we cannot have
wooden furniture. When I was little, when a rumbero died, they played on the coffin. They played rumba
directly on the coffin. On anything, you know? The rumba is sublime! Emotionally rich, yet very simple at the same time.
With very little you can
do great things. Kolé is the royalty of rumba. And inside, he showed me
family treasures. He was the direct descendant of one of the founders
of the Muñequitos de Matanzas. – Who is Chachá?
– My great-uncle! Chachá is the heir to the oldest
batá percussion ensemble in America. They are called "Aña Bi", which means
"Aña is born". And Aña is the Orisha of sound, the Orisha of the batá. And these percu Aña Bi were
made by an African, born in Africa, transported
in chains to the Americas. And today
Kolé is their keeper. Kolé, show him. These percussion are over 200 years old. This is how you
communicate with Olofin. By sound,
we speak to Olofin, via Aña. These are
legendary percussions. All the
oldest santeros have laid their heads
on these percussions. It's heavy. Everyone would have danced on these
percussions and would have played them.
So they hold the minds of a lot
of people and … Chano Pozo was there.
In this house, right here.
– Truly ?
– Yes, he came to visit. There is even a book. Chano Pozo estuvo
en esta casa con Chachá. Chano Pozo was in this
house with Chachá. To play rumba
with Chachá … It's a place
with such a musical past. And here we are, so thank you very much. Unbelievable. I was delighted to come.
It is magic. It was a
truly exceptional experience. These percussions are obviously
much more than rhythm. There is a spiritual aspect to all of this. In the next episode, we will see how
sacred percussions are made, we will make a foray
into the world of Santeria.
and we will have the privilege of being received within the
African secret society of Abakua..