Notes on the Cuban Heart

Notes on the Cuban Heart by Charly Barbera

Music reaches our senses, and moves us like no other. Throughout time it has moved us łAs a heartbeat tells us to war, or to unite in the spirit of peace; at times someone is alive, it is reminiscent of a love spent or lost, placating so does the beat of the drums its bitterness with genial memories as we seek tell us their people are alive.˛ the beauty of suffering, or it helps us to forget as An Afro-Antillean Soul we revel in rhythmic pulsations; it has been feared and called the work of Satan by some in disgust, and has lifted others to a state of bliss, to touch God. Music is vital to the continuity of the traditions and values of many cultures; it has been used throughout our history to express individual or a groupšs beliefs, values, and hope.

A culturešs music has been the vehicle that carries on their history, expos-ing its beauty and tragedies to the coming generations, as their purpose passes on from generation to generation. The relationship with a higher power is celebrated with music, as it rises with the understanding and wisdom of the Gods. It is a moving and touching experience for a young learner to receive this vital information of heritage through the senses invaded by music and dance; their is a greater perception of ones culture in this path of knowledge, than in memorizing paragraphs of words from a history book of intimidating size. This I believe to be one of the reasons behind the amazing difference between the people of more primitive cultures looking and feeling more alive and overjoyed with life, than those of the technologically advanced powers of mass culture.

The closely guarded and long held traditions of communal celebrations of music and dance by these cultures, form a strong, colorful contrast to the individualist culture of self-sufficiency in our high-tech societies. Cuba is one example of a culturešs heartbeat being the beat of its music. The feelings and emotions of its people is intertwined with their music. This contributes to a rich variety of sounds, telling us there is much more than just academics behind this strong identity the Cuban people have built for themselves in the world of music. They have an immense faith in their music. Their music is uplifting, helping them to reach religious experiences, providing and strengthening their faith in God. It is this faith that has helped their African music survive the raping of their land and its people, in the mother land of Africa and in the New World. The Yoruba people and those of other African tribes that were ripped away from their native land to be sold as slaves in the New World, carried their music through slavery, knowing how vital it was for the survival of their culture in these times of inhumanity. The Spanish Colonialists and the plantation owners of the Cuban aristocracy, had banned all drums fearing it would wake up the warrior soul and incite their slaves to revolt against them.

Even during the post-slavery days in Cuba, the ways and music of the African communities were not socially acceptable; for the aristocrats that is, for the drums were always beating in the heart of the Cuban people and in the back rooms of their barrios . It was many years before the prohibited drums came out into the open and permeated the island of Cuba with the penetrating beats and rhythms of the Yoruba language. When the beat of the drums were free to ride the tropical breezes, so did the rituals of Santeria add its beauty and color to the Cuban landscape, since it is the base and purpose of the Cuban music.

Claire Lambeau, was a French commentator that had the privilege of being in Cuba when this liberation of the Santeria culture occurred in 1936. Lambeau wrote an essay on this day when Fernando Ortiz, a Cuban Santero, introduced to the public ÖIYA, ITOTELE, and OKONKOLO, the deities that give life to the three drums they are named after. In it he says, ł Once again it had all become possible: to dance, pray, bury the dead, cure, foretell the future and cast spells-the gods were back among men...the barriers fell, and the drum gave way to fascination: soon white men and women began taking the road to the House of the Saints.˛ This fascination continues today, and the appreciation for this vigorous music has crossed the borders of its island and expanded. When the African slaves wanted to pay their respects to the gods and perform their rituals, they would use images of catholic saints. Just as their drums were prohibi-ted and taken away from them by the colonialists, so was their religion attempted to be taken away by the ruling Catholic church. But the link between the slaves and their pantheon of gods, was a complex Çbond that could not be destroyed; the only way to make it disappear was to disappear all its people. A silent agreement was reached between the Catholic church and the slaves, in which they would continue with their sacred traditions and celebrations, but the images of catholic saints would be used in place of the Orishas. Yemaya became known as Santa Nuestra Senora de la Regla, Shango as Santa Barbara, Oshun as Santa Caridad del Cobre, and so on. This fusion has remained a part of Santeria, where the Yoruba images of the Orishas, such as the smooth dark stone that represents Eleggua, share the space in a Santeros home with colorful icons of catholic saints. As religious imagery influenced their ways in the New World, so has Cuban music been influenced by jazz, Spanish flamenco, and other forms. The connection between blues, jazz and their music is evident in the African ~roots they share. The Yoruba people and the other Africans enslaved and brought to the New World, gave birth to the rich musical forms found all across the Americas today.Their music is the core and source of Brazilian samba,Dominican merengue, Jamaican reggae, Haitian rasin, Trinidadian steel-bands, Bahamian jukanoo, and our own blues. This is just a small sample of the vast amount of music with African roots. There is no drum rhythm in Latin music, jazz, or any type of music using percussion that does not exist in the Bata. This sacred language spoken by the drums is heard not only in Cuba, but also in Brazil where the religion is called Candomble, in Haiti where it is called Vodun, and all across the Caribbean itšs known as the Shango cult. Each delivering the ancient language of their past, with the words and expressions of new cultures. Cuba soaked up the new sounds that were coming through the airwaves from the north, and also enriched their music with accents of bebop, blues, swing, and big band. Cuban music has been present in the U.S. for years, starting with the interest it awoke in Dizzy Gillespie and other jazz greats during the creative expansion of jazz in the 40šs and 50šs.This interest has been carried onto our time by the jazz world, where Cuban music has brought into existence the Latin Jazz genre; by the immigration of Latin-Americans that has brought and established major cultural centers, adding their festive colors and traditions to major cities such as Los Angeles, New York, and Miami, where they have become a strong presence in the arts, media, and politics; it has been kept alive by the devotees of Chango, those that allow the sound to flow and pulsate in their veins and vibrate their flexible bodies;and every one of us that feels the music is a part of them, is inside them, that is the way it can only be. Cuban music has also moved listeners and influenced musicians across Europe, and far reaching places like Japan and the Orient. The element of love and respect for their music, acquired through the knowledge and wisdom of the Orishas, and their joy to be alive and to pass this on to others with their music and get those hips moving, are the forces behind Cuban music. It began as a conversation among the Orishas, and between the Orishas and their devotees. Those who wish to become drummers in the Yoruba tradition, must first acquire the knowledge and wisdom of the Orishas; it is the only way to become sacred messengers and to make the drums speak the language of the Gods. These conver-sations are composed of complex and hypnotic rhythm patterns that intermingle with improvisation. The Okon}kolo drum marks the beat, while Iya, the mother drum, con-verses with Itotele. In most styles of Cuban music, the clave will carve the path as the Okonkolo by marking the beat. The 1,2,3-1,2 or 1,2-1,2,3 mark of the clave heard in a guaguanco, son-montuno, or danzon, is a signature of Cuban music.Announcing the presence of a dynamic music that moves body and soul, the clave initiates the rising of a soul or a pelvic swing. These rituals combine the spiritual rising of a people with creative musicianship. For generations Cuban musicians have found inspiration in their rich musical past, and seek the help and knowledge of the Orishas to find the path to their musical identities. Cubans are not the only ones looking for inspiration in the extensive library of Cuban music; musicians of different backgrounds and genres are exploring Cuban music and finding innovative ways to enrich and expand their music. As young Cuban musicians make good use of their musical heritage, they also contribute their own experiences for those that follow. Listening to the sounds of Cuba today with musicians such as Pablo Milanes, Juan Formell y los Van Van, NG la Banda, Isaac Delgaldo, and many others, we can hear and feel the tradition of breathing new life into the voice of ancient spirits, continues. The Orishas and its people, will continue to provide their gift of love through music for all; a precious offering that can move us like no other, provide inspiration, and liberate us from our dark shadows as it lights up our souls. As it once did for those who brought this sacred music inside them, as they traveled the sea of inhumanity under chains.

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