Fiesta Aquí, Fiesta Allá: Music of Puerto Rico
Lesson 7
Bomba Landscapes: The Flow of People, Technology, and the Music Industry
Why are staged bomba performances meaningful to people who identify as Puerto Rican (both on the island and in the diaspora)?
Rashelle Burns Dances at the Community Batey in La Perla, Puerto Rico, by Mariana Núñez Lozada. Smithsonian Folklife Magazine.
Bomba Landscapes: The Flow of People, Technology, and the Music Industry
CREATIVE CONNECTIONS
HISTORY & CULTURE
30+ MIN
30+ MIN
30+ MIN
MUSIC MAKING
Bomba as Spectacle: Introduction
Component 1
30+ minutes
Voces de Promesa Perform at the National Parang Association's Fiftieth Anniversay Concert, photo by Maria Nunes. Smithsonian Folklife Magazine.
"Traditional" Bomba
Watch this video clip from a "traditional" bomba.
Viento de Agua Perform Traditional Bomba [Live at Smithsonian Folklife Festival 2004], video by Smithsonian Folkways Recordings.
What musical and cultural characteristics seem to define this genre?
"Traditional" Bomba
Watch this short video clip again.
This time, consider and discuss some additional questions.
What is Bomba?!?
Bomba is a genre of music performed by drummers, dancers, and singers.
It developed in Puerto Rican coastal towns among enslaved Africans in the 17th century.
The word "bomba" (bomb) can be interpreted as an expression of its sound—a big boom.
Bombazo Batey de los Ayala Loiza, by Jaime O. Bofill Calero.
Bomba's Instrumentation
Bomba owes its sonic identity to its instruments and its highly rhythmic quality.
- Large barrel drums utilize a vibrating membrane to produce sound.
- Other hand-held instruments produce sound through striking, scraping, or shaking (e.g., maracas, claves, cowbells).
Above: LP Cowbell, by Latin Percussion Inc. Left: Bomba Drum, unknown maker. Below: Claves, used by Mongo Santamaría, unknown maker. National Museum of American History. Gift of Nancy Santamaría.
Two Drums: Barriles de Bomba
There are two sizes of barriles. They are classified according to their function and size:
- Subidor/primo: lead, smaller, plays repique (improvises, following the dancer).
- Buleador/segundo: bigger and wider, performs an ostinato pattern to lay down the groove.
Barril de Bomba, unknown maker. National Museum of American History.
Two very important drums (membranophones) used in bomba are called barriles de bomba (or simply barriles).
The Cuá
Another important instrument in bomba is the cuá: Two wooden sticks that strike a hollowed out wooden surface.
Left: Barriles and Cua, photo by Mariana Núñez Lozada. Smithsonian Folklife Magazine.Right: Edwin Estrema Playing the Cuá, unknown photographer. New Jersey State Council on the Arts.
Maraca(s)
Maraca(s) (a hollow instrument filled with beads, seeds, or other materials, which strike the insides of the instrument as it is shaken) are also important in bomba music.
- You might be tempted to use two hands and two maracas together as shakers but in the bomba tradition, only one, somewhat large maraca is used (or two are held in one hand).
Maracas, unknown maker. National Museum of American History.
Call and Response
Bomba also involves singing, often of a call and response nature between a lead singer and a group of responders (chorus).
Like many characteristics of bomba music, call and response is a practice associated with many musical styles from different parts of Africa.
Piquete: A Conversation Between Drumers and Dancers
One quality, especially unique to bomba, is the conversation between drums and dancers, called piquete.
The dancer moves to the rhythm and the drummer responds to the dancer's moves, altering and developing its rhythmic improvisation.
A Bomba Piquete Scene, photo by Mariana Núñex Lozada. Smithsonian Folklife Magazine.
Bomba "Spectacles"
A spectacle is:
- A staged performance that is particularly striking or moving, in visual and aural ways.
- Spectacles make use of sensory experiences and special effects (e.g., costumes, scenery, dancing, music, and narratives/storytelling used in performance).
Amantes de Parranda, photo by Jerome McClean. Smithsonian Folklife Magazine.
Listening For Bomba's Important Features
Pay special attention to the piquete (interaction between drummer and dancer).
As you watch this staged performance of bomba, identify important features of this music, such as: instruments (barriles, maracas), short/rhythmic phrases, call and response structure).
Bomba: Play Along!
Using body percussion (laps), hand drums, desks, or any other surfaces safe for striking with hands, improvise rhythms to match the dancer's movements.
Watch the video again, but this time, without sound.
Bomba Grooves
Try to play the rhythms as written below by dividing the room into the three parts (start slowly). Students can use instruments, desks, or body percussion to represent the different instruments.
Transcription of Bomba Grooves, created by and used with permission of Katie Brown.
Sicá rhythm
Yubá rhythm
Listen again. Can you identify any of the rhythms you just learned. Get ready, it's fast!
Experiencing Call and Response: Siré y Siré
Do you know other songs or types of music that use call and response?
Translation:
Yes, I’ll go, yes, I’ll go, yes I’m heading for Mayaguez (a city in Puerto Rico)
Yes, I’ll go, yes, I’ll go, for they’re playing my balance (my rhythm)
Identify the call and response and sing along:
Siré, Siré, sí me voy para Mayagüez
Siré Siré, porque están tocando mi balancé
Let's turn our attention to another song performed by Viento de Agua, called "Siré y Siré"
Put It All Together!
Create your own arrangement of "Siré y Siré".
Siré, Siré, sí me voy para Mayagüez
Siré Siré, porque están tocando mi balancé
Sustainability of Bomba
Since its origins in Puerto Rico, bomba has seen waves of public popularity.
- At times, however, it has fallen far from the eyes and ears of the mainstream—marginalized and even nearly lost at times.
Thanks to the efforts of various local and diasporic communities, it has experienced a revival, and is a very popular form of Puerto Rican cultural expression today (both on the island and in the diaspora).
What is Diaspora?
Viento de Agua: Unplugged, cover art by Marlow Palleja Design. Smithsonian Folkways Recordings.
Para Todos Ustedes, cover art by Marlow Palleja Designs. Smithsonian Folkways Recordings.
Puerto Rican Music in Hawai'i, cover art by Daphne Shuttleworth. Smithsonian Folkways Recordings.
Mapping Puerto Rican Diasporas
Above: North and South America (Political Map). Right: United States (Outline Map), by U.S. Central Intelligence Agency. University of Texas Libraries.
Mapping Puerto Rican Diasporas
Puerto Ricans in the United States, by César J. Ayala. University of California, Los Angeles.
Significance of Bomba as Spectacle
Bomba has been sustained by and is culturally significant to many people in the Puerto Rican diaspora.
Staged performances (spectacles) ensure many people in places around the world continue to have opportunities to experience bomba!
2004 Smithsonian Folklife Festival, by Jeff Tinsley. Provided by the Ralph Rinzler Folklife Archive and Collections, Smithsonian Institution.
Learning Checkpoint
- What are some important musical and cultural characteristics of bomba music?
- What are some important characteristics and benefits of bomba as "spectacle"?
- What were some challenging and rewarding aspects of creating and performing your arrangement of "Siré y Siré"?
- What is diaspora, and what locations on the US mainland are part of the Puerto Rican diaspora?
End of Component 1: Where will you go next?
Return to Pathway homepage:
Puerto Rico
Bomba as an Expression of Identity
Component 2
30+ minutes
Para Todos Ustedes, cover art by MP Designs. Smithsonian Folkways Recordings.
What is Bomba?!?
-
Bomba is a music genre that developed in Puerto Rico among enslaved Africans in the 17th century.
- Bomba is performed by drummers/instrumentalists, dancers, and singers.
- It is socially and culturally significant (both on the island and in the diaspora) as an expression of identity, political resistance, and/or religious belief (among other things).
- Whereas Lesson 6 focused on bomba as community expression (e.g., informal performances, fiestas), Lesson 7 focuses on bomba in more institutionalized ways (e.g., staged performances).
Bomba and Puerto Rican Identity
Why do you think this performance might be important and meaningful for young people in New York City?
¡¡Bomba!!, Los Pleneros de la 21 on Sesame Street, uploaded by Sawing14s.
Watch an excerpt from this video of a group called Los Pleneros de la 21 performing Bomba on Sesame Street in 1992.
What Is Identity?
Music can be a way of understanding your identity.
- Individually: Consider what your own music tastes say about who you are (to yourself and to others).
- Collectively: Many cultural groups, families, subcultures, and communities express their group identities through music performance, listening habits, and other forms of musical production and consumption.
Identity is what makes you, well, you!
- Identity is a combination of many different factors: homeland or hometown, ancestry, social groups, interests, religion, gender, race, sexuality, school, etc.
Considering Personal Identity
With a classmate:
- Take a few minutes to discuss your own identity.
- You won’t be able to cover everything so choose one or two parts of your identity that you feel are significant to you.
With the whole class:
- Why did you choose those aspects of your identity to discuss?
- How do your favorite activities, foods you eat, music you listen to, or languages you speak be relate to those aspects of your identity?
- Why might a sense of identity be important to people? How is it important to you?
Diasporic and Global Identity
Beyond the diaspora, people all over the world, of many different nationalities and ethnicities, perform and listen to bomba music.
North and South America (Political), by U.S. Central Intelligence Agency. University of Texas Libraries.
Bomba music is an important part of identity for many members of Puerto Rican diasporic communities.
In this way, bomba can be a part of a person's global identity.
The Bomba Revival
Thankfully, it has experienced a revival through the collaboration of Puerto Rican locals, people in the diaspora, and the state (government).
Since its origins in Puerto Rico, bomba has seen waves of public popularity.
- At times, however, it has fallen far from the eyes and ears of the mainstream—marginalized and even nearly lost at times.
The Bomba Revival: Local Efforts
Rafael Cepeda (1910–1996) is widely recognized as the "patriarch" or father of bomba and plena.
- A prolific performer and composer, Rafael was a passionate advocate of traditional musics in Puerto Rico, specifically bomba and plena.
- Many people credit him with reviving these music traditions on the island and helping them gain international popularity.
Rafael Cepeda, photo by Luis Reyes. Smithsonian Folklife Festival Program.
Bomba vs. Plena: What's the Difference?
Viento de Agua Perform Traditional Bomba at the 2004 Smithsonian Folklife Festival. Smithsonian Folkways Recordings.
Bomba
Plena
Hector “Tito” Matos and members of Los Pleneros de la 21 demonstrate Plena Music (2005). Smithsonian Folkways Recordings.
La Familia Cepeda
With his wife, his three daughters, and his eight sons, Rafael founded a performance ensemble called "La Familia Cepeda".
Familia Cepeda Performing Bomba in Villa Palmera, uploaded by Sorongo.
For over fifty years, this group has preserved the complex drumming, dance steps, vocal improvisation, and many-layered rhythms that characterize bomba.
The Bomba Revival: Local Efforts
Rafael Cepeda's children and grandchildren continue to carry on the bomba (and plena) traditions, extending the life of these musical styles and cementing them into Puerto Rican culture.
A Community Event in 2010, Organized by La Familia Cepeda. Uploaded by Machetes y Miel.
The Bomba Revival: Local Efforts
In 1973, he founded the Escuela de Bomba y Plena Rafael Cepeda Atiles, a school that helps young people learn the traditions of bomba and plena and promotes Puerto Rican cultural practices as an important part of identity.
Rafael's son, Modesto, recognized that one way for communities to maintain culturally significant musical practices is through education.
Children at the Escuela de Bomba y Plena Rafael Cepeda Atiles, by Raúl José. CC BY-NC-ND 2.0, via Flickr.
The Bomba Revival: State-Sponsored Events
Cultural identity can also be promoted and sustained through state-sponsored events. One example of this in Puerto Rico is Dia Nacional de la Bomba (The National Day of Bomba)—a day of celebration intended to recognize the history and cultural impact of bomba music.
International Bomba Day, Loíza, Puerto Rico. Uploaded by Quality Media.
State-Sponsored Events: Let's Discuss
- To what extent do you think government-sponsored cultural events, such as staged bomba performances, impact how Puerto Ricans understand their cultural heritage and identity?
- Why might governmental institutions be interested in promoting bomba on the island?
- What are some possible positive outcomes of bomba performances sponsored by governmental institutions?
- Are there any drawbacks?
Exploring the Complexities of Authenticity
On the surface, authenticity describes something that is real, true, and/or original.
- But, there are many different uses of the word, which can have both positive and negative results. Determining what is and is not "authentic" is a complex, subjective process.
What does the word authenticity mean to you?
Authenticity Guaranteed. Illustration 99904665 © Arkadi Bojaršinov | Dreamstime.com
The Bomba Revival: Diasporic Communities
In many ways, it is thanks to diaspora communities that the bomba revival occurred and has been so significant.
- Many diasporic fiestas and festivals feature staged events of traditional cultural practices—making them more central and accessible among large crowds.
-
Bomba and plena are very popular at these types of events.
- Watch this example!
Los Pleneros de la 21 Perform "El Testigo" at the Smithsonian Folklife Festival in Washington, DC. Smithsonian Folkways Recordings.
Los Pleneros de la 21 in NYC
Los Pleneros de la 21 is one of several community organizations that protects and promotes plena and bomba music in NYC through performance, cultural exchange, and education.
Los Pleneros de la 21, photo by Erika Rojas. Smithsonian Folkways Recordings.
Some of their initiatives include:
- Facilitating community workshops
- Demonstrations and workshops in public schools
- Arranging for guest artists to visit the community
- Planning and performing at fiestas and other cultural events
- Releasing albums
- National and international tours
Fiestas and Festivals in the Diaspora: Las Fiestas de la Cruz in East Harlem
Las Fiestas de la Cruz (Feast of the Holy Cross) are a series of events, performances, and celebrations stemming from a Puerto Rican tradition.
La Fiesta de la Cruz en el Barrio de Nueva York con Los Pleneros de la 21. Uploaded by Richard Pagan.
Watch some clips from Las Fiestas de la Cruz, 2023!
The celebration involves chanted rosaries (Catholic tradition) in honor of the cross that Puerto Ricans inherited from Spain.
Fiestas and Festivals in the Diaspora: Fiesta Boricua in Chicago
Another great example of a fiesta in the diaspora is the Fiesta Boricua in Chicago—a large gathering and series of celebrations of Puerto Rican cultural heritage.
Puerto Rican Festival in Chicago. Uploaded by The Jam TV Show.
How do events like this contribute to identity construction for people in diasporic communities?
Optional Research Activity: Bomba and Activism
Throughout the Puerto Rican diaspora, organizations use bomba as a tool to promote cultural diversity, providing opportunity for youth (people of all ages really) to learn about their own cultural heritage, or the cultural heritage of others.
Some of these organizations also use bomba as a tool for social activism.
Share what you learn with the rest of the class: What do these organizations aim to contribute to their communities, regions, and the world?
Do a little research on your own by visiting the website of one three organizations. Find out: What is their mission? Do they support any social causes?
Optional Closing Video: "Baila Julia Loiza" at the 2017 Smithsonian Folklife Festival!
If time allows, close out this component by watching an extended version of "Baila Julia Loiza", performed onstage at the 2017 Smithsonian Folklife Festival.
Do you remember Julia? She was the little girl who danced in the Sesame Street video!
Los Pleneros de la 21 Perform "Baila Julia Loiza" at the 2017 Smithsonian Folklife Festival. Uploaded to Vimeo by Juan Gutierrez.
Learning Checkpoint
- How can bomba (as spectacle) contribute to the construction of personal, collective, diasporic, and global identity?
- How does the idea of authenticity relate to bomba?
- What are some ways that bomba has been preserved and promoted, both in Puerto Rico and in the diaspora?
End of Component 2: Where will you go next?
Return to Pathway homepage:
Fiesta Aqui, Fiesta Alla: Music of Puerto Rico
Bomba: Technologies of Transmission
Component 3
30+ minutes
Edison Home Phonograph, unknown maker. National Museum of American History.
What is Bomba?!?
It is performed by drummers, dancers, and singers.
The word "bomba" (bomb) can be interpreted as an expression of its sound—a big boom.
Bombazo Batey de los Ayala Loiza, by Jaime O. Bofill Calero.
Siré y Siré, by Viento de Agua
Bomba is a genre of music that developed in Puerto Rico in the 17th century.
Bomba as Commercial Expression
In Components 1 and 2 of this lesson, we learned that although bomba originally developed as a form of community expression, some performances of bomba music have become more institutionalized over time.
- Especially in diasporic contexts, staged performances of bomba at formal events (often large festivals) foster identity and help people connect with their cultural heritage.
In Component 3 we will take a look at bomba as commerical expression.
- Specifically, we will explore how new technologies, the commercialization, and the standardization of bomba music affects how people all over the world can connect and engage with this tradition.
Technologies of Transmission
How do you listen to music? What about your friends?
How do your parents, grandparents, or other family members listen to music?
How did they listen to it in the past?
Technologies of Transmission
Cassette Tape Recorder, by H.H. Scott, Inc. National Museum of American History.
Technologies of transmission are equipment that allow us to listen to music that is not being performed live.
- Cassette (tape) player
- CD (compact disc) player
- MP3 player
- Streaming services
- Phonograph
- Radio
- Record player
Live vs. Recorded Musical Performances
What are some benefits and drawbacks of live vs. recorded performances of music for performers?
Think about your own experiences listening to music ...
Do you prefer live or recorded musical performances? Why?
How are live and recorded performances similar and different?
What are some benefits and drawbacks of live vs. recorded performances of music for listeners?
Commercialization and Bomba
Commercialization changes bomba—so it is seen as both positive or negative—depending on who you ask.
Commercialization is the process of making something (in this case, music) into a product that can be bought and sold. (e.g., CDs, MP3s, streaming music subscriptions ... the technologies of transmission we talked about earlier).
Left: Para Todos Ustedes. Right: Viento de Agua Unplugged: Materia Prima. Cover art by Marlow Palleja Design. Smithsonian Folkways Recordings.
Baila Julia Loiza!
Los Pleneros de la 21 Perform "Baila Julia Loiza" at the 2017 Smithsonian Folklife Festival. Uploaded to Vimeo by Juan Gutierrez.
What are some differences between the live performance and studio-recorded (audio) version of this song? Which do you prefer? Why?
Standardizing Bomba
Bomba’s commercialization created a new desire for something more "standard".
Listen to an excerpt from a song called "Mayelá", recorded by Viento de Agua.
Do you think this is a good song for dancing? Why or why not?
The Influence of Rafael Cortijo and Ismael Rivera
Rafael Cortijo was a powerful force in the shift to a more standardized bomba, especially as his popularity rose along with his musical partner, Ismael Rivera.
Cortijo and Rivera's performances and recordings of bomba incorporated new instruments, while keeping a strong emphasis on rhythm and danceability.
Their recordings became very popular—both in Puerto Rico and in the diaspora.
Ismael Rivera (Left) and Rafael Cortijo (Right). Unknown source.
Standardizing Bomba: Sicá
Because it is great for dancing and has been used frequently in popular recordings, sicá has become one of the "standard" and most played bomba rhythms.
Viento de Agua Perform Traditional Bomba [Live at Smithsonian Folklife Festival 2004], video by Smithsonian Folkways Recordings.
Although bomba has 16 rhythmic varieties, one stood out in the era of commercialization: Sicá.
Bomba Moves ...
This includes the large population of people in the diaspora, who can listen to recordings from back home or even make new ones inspired by the early recordings we have discussed.
North and South America (Political), by U.S. Central Intelligence Agency. University of Texas Libraries.
Bomba recordings have extended the reach of this music tradition far beyond Puerto Rico, to the rest of the world.
"Bomba Negra", performed by Charles Figueroa and
August, Virginia, and Wayne Rodrigues.
Bomba: Influencing Other Genres
Some examples include:
- Rap and Reggaeton: Vico C, Tego Calderon, Calle 13
- Jazz: Willam Cepeda, Miguel Zenon
- Salsa: Hector Lavoe and Willie Colon
As the quintessential Afro Puerto Rican music genre, Bomba has been used by artists in many other genres, including salsa, rap, jazz, reggaeton, rock, and even classical.
Intersections of Community, Education, and Commercialization
How might commercial education initiatives like this impact identity for Puerto Rican and diasporic communities?
Sometimes we can see very clear intersections of community, education, and commercialization. One example of this is in literature for children.
Trailor for "When Julia Danced Bomba/Cuando Julia Bailaba Bomba", uploaded by Dr. Raquel M. Ortiz's YouTube Channel.
Learning Checkpoint
- How has technology affected bomba music, both inside and outside of Puerto Rico?
- How has the commercialization of bomba changed it?
- Why can these changes be viewed as both positive and negative, depending on who you ask?
End of Component 3 and Lesson 7: Where will you go next?
Lesson 7 Media Credits
Audio courtesy of
Smithsonian Folkways Recordings
Video courtesy of
Smithsonian Folkways Recordings
Juan Gutierrez
Images courtesy of
Smithsonian Folkways Recordings
Smithsonian Folklife Magazine
University of Texas at Austin, PCLP Map Collection
Jaime O. Bofill Calero
National Endowment for the Arts
César J. Ayala, University of California Los Angeles
Ralph Rinzler Folklife Archives and Collections
© 2021 Smithsonian Institution. Personal, educational, and non-commercial uses allowed; commercial rights reserved. See Smithsonian terms of use for more information.
This project received Federal support from the ... administered by the Smithsonian ....
For full bibliography and media credits, see Lesson 7 landing page.