Por lo general, casi todos estos géneros musicales bailables, tienen como base el son cubano, un estilo de canto y danza que tuvo proyección internacional a partir de los años 30. La evolución del son dio origen a otros géneros como el son montuno, el mambo y la salsa, que incluye un conjunto de estilos musicales bailables como el chachachá, la guaracha y el boogaloo entre muchos otros.

En este post, vamos a repasar algunos de los bailes que fueron tendencia en el pasado.

El chachachá

Según se comenta, el nombre de este género musical bailable surgió del sonido que hacían los zapatos de los bailadores al unísono sobre el suelo de las salas de baile. Sin embargo, otra teoría suele afirmar que Enrique Jorrín, a quien se le atribuye la creación del chachachá, escuchó el sonido que hacía una empleada de limpieza mientras bailaba una de sus composiciones (cha cha chá). Esto le inspiró a darle ese nombre. Hoy en día, el chachachá es un baile de origen cubano reconocido a nivel mundial, cuyos orígenes se remontan a los años 50.

El bolero chacha

Como es bien conocido, el bolero tradicional cubano, se fusionó con otros géneros musicales. De esta mezcla, nacieron ritmos como el bolero son, bolero mambo, el bolero ranchero, el bolero moruno y entre otros, el bolero chacha. Como su nombre lo indica, se trata de una fusión entre el chachachá y el bolero. Por lo tanto, es un baile más lento, que el chachachá tradicional.

El boogaloo

Otro de los bailes que fueron tendencia en su momento es el boogaloo. Este género musical bailable tuvo gran auge en la segunda mitad de los años 60, sobre todo en la comunidad puertorriqueña de Nueva York. El boogaloo consiste en la fusión del soul y R&B norteamericano con ritmos caribeños como el mambo, la pachanga, el chachachá y el son montuno. En este sentido, es normal que las canciones de este género sean un híbrido entre el inglés y el español, fenómeno que se conoce como spanglish. El reconocido músico y cantante Joe Cuba es considerado el padre del boogaloo. Sin embargo, Richie Ray, Pete Rodriguez y Ray Barreto también fueron destacados exponentes de este estilo musical bailable. I like it like that de Pete Rodriguez es una de las tantas canciones exitosas del boogaloo.

La pachanga

A finales de los 50, nació en Cuba la denominada pachanga, que se consideró un chachachá pero más libre, más abierto y más bailable. Posteriormente, en Nueva York, se dice que fue el gran maestro Jhonny Pacheco el que le dio forma al baile de la Pachanga, la cual se bailaba con un brinquito y un pañuelo en la mano. Aunque surgió en Cuba, fue en Nueva York donde se popularizó en los años 60 y de ahí se extendió por todo el mundo.

La rumba

De raíces africanas, la rumba es uno de los bailes cubanos que fueron y siguen siendo tendencia. Se suele afirmar que, nació a lo largo del siglo XIX y es considerada la madre de todas o casi todas las danzas latinas actuales. De hecho, se dice que, de la rumba cubana han surgido otras variantes en diversos países latinoamericanos. En 2016 fue decretada Patrimonio Cultural Inmaterial de la Humanidad por la UNESCO.

La guaracha

La guaracha es otro de los tantos bailes que se originaron en Cuba y se tocaban y cantaban en teatros musicales, que eran considerados de baja categoría. Según se comenta, era el género musical favorito en los burdeles de La Habana y con el tiempo se convirtió en el repertorio de algunos trovadores, conjuntos y orquestas cubanas. El ritmo de la guaracha es rápido y sus letras son jocosas.

La guaracha zuliana

De origen cubano-caribeño, en los años 50 nació otro de los bailes que fueron tendencia. Esta vez, se trata de la guaracha zuliana, que como su nombre indica, se creó en el estado Zulia, Venezuela. Actualmente, existen muchas agrupaciones y cantantes de la guaracha zuliana en Venezuela que interpretan sus canciones durante todo el año. El reconocido artista zuliano Argenis Carruyo es uno de los más destacados exponentes de la guaracha zuliana.

El batanga

El batanga fue un género musical bailable que creó el destacado músico cubano Bebo Valdés en los años 50. En un principio, el batanga figuró entre los bailes de mayor popularidad, por su rítmica alegre y contagiosa. Sin embargo, con el tiempo fue perdiendo relevancia y fue desplazado por otros bailes.

Vale la pena destacar que, muchos de estos bailes están presentes en estilos como la salsa en línea, la salsa caleña y la salsa cubana. En otro post seguiremos hablando de bailes que fueron tendencia en la historia de la música latino-caribeña.

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The truth is that Hispanic-American musical genres are a mixture of influences that add flavor, joy, and feeling to life. The tumbao of the Latin Caribbean, the Spanish and Muslim influence, along with African and Andean rhythms, among other elements, have laid the foundations for Latin American musical diversity.

In this post, we will review some of the best-known musical genres of Hispanic American culture.

Reggaeton

Reggaeton is one of the most popular Hispanic musical rhythms today. The genre is like the Latin version of hip-hop. However, although this genre is urban-like hip-hop, it mixes with the tropical due to its festive and danceable nature.

There is an eternal dispute between those who affirm that reggaeton is from Panama and others who say, Puerto Rico. However, the vast majority agree that reggaeton originated in Panama in the 1980s. At first, it was called Spanish Reggae due to its influence on Jamaican rhythm. One of the first exponents of reggaeton was El General, a Panamanian singer from the early 1990s.

Salsa

Of course, salsa cannot be missing from this Hispanic musical genres list. Without a doubt, it is one of the best-known Latin social dances worldwide and danced to the rhythm of the music that has the same name.

There are many theories of the origin of the name Salsa. One of the best known refers that the world salsa as a musical and dance genre became popular in New York at the end of the 1960s. Salsa is the product of the mixture of too many Afro-Caribbean rhythms. Its foremost influence is the Cuban Son. But mambo, chachachá, guaracha, and rumba, among other rhythms, are also part of salsa.

Cuban Son

Cuban Son is practically the father of salsa. It is one of the most influential Cuban music and dance genres in the world. From the son was born the mambo and other Afro-Caribbean rhythms. In addition, thanks to the influence of Son, the bolero became a piece of danceable music.

The birth of the Cuban Son came from the fusion of African musical traditions of Bantu origin with Spanish musical traditions. Today the Son is present in salsa, musically and danceable. It is worth mentioning that, from Son, salsa inherited many of its steps and dance movements, the rhythm of the key among other elements.

Mambo

Mambo is another Cuban musical genre and dance that gained popularity in various parts of the world. Its international boom occurred in the 40s and 50s, conquering Mexico, the United States, and some European countries.

According to comments, the word mambo means conversation with the gods in the Kilongo language, one of the many African languages ​​that arrived in Cuba. Some historians also claim that “Mambo” was the name of the priestess in some African traditions. This priestess helped people to enter into communion with the gods through the trance of dancing. Mambo dance from Cuba inherited this characteristic of trance and frenzy. Therefore, since it hit the tracks, mambo was a revolution in expression that became popular.

Cha Cha Cha

Another dance and musical genre from Cuba since 1950 is Cha Cha Cha. Its root is the danzon. It is a danceable rhythm, but with a slower than mambo. When the Cha Cha Cha came out, the dancers began to create new steps taking the mambo dance as a reference.

The name Cha Cha Cha refers to the steps of this dance. Describe the sound of the shoes when the dancers make the most distinctive steps Cha Cha Cha: 3 steps that danced in 2 beats. His popularity conquered the United States and much of Latin America. Today, like salsa and bachata, Cha Cha Cha is one of the many styles taught in dance academies.

Guaguanco

Guaguanco originates from the Cuban rumba. It is the most popular style outside Cuba. It is a type of rumba with the fastest rhythm. In addition, guaguanco is considered a dance of seduction and sexual conquest. The man tries to seduce the lady with pelvic movements, and the woman resists and rejects her advances, but she also does her seduction dance more subtly.

Currently, the movements of guaguanco are present in the vast majority of Latin dances. The movement of the hips, pelvis, and shoulders, widely used in salsa and other dances, are inherited from guaguanco.

Other musical genres also enrich Hispanic American culture and which we will talk about in the second part of this post.

We also invite you to read our post: The Ancient Art of the Payada

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Its development occurred with a considerable emphasis in much of South America. Argentina is one of the countries where the Payada is most known. However, it is also a tradition in Uruguay, southern Brazil, Chile, and Paraguay.

In general, the Payada is the improvised intonation of verses between 2 or more payadores who are challenged by each other in what they call “contrapunto” (counterpoint). It is also possible that the payador recites his verses individually to the rhythm of the guitar.

The main issues they talk about in the Payada are death, love, daily life, and daily work. The Payada consists of eight-syllable verses, organized in a quatrain, sixths, and tenths.

Origin of the Word Payada

According to some historians, the word Payada derives from the word payo, which refers to peasants in Castile. It is also related to the word Pagés, which in Catalan also means peasant.

Another theory places the origin of the word Payada in the troubadours of Provence (southern France), who liked to establish controversy in verses.

“In the etymological dictionary of the Castilian language, Corominas gives a more accepted explanation at present: Pallar, Amer, ‘improvise couplets in controversy with another singer’, 1855”.

Payada in Argentina and Uruguay

In Argentina, the Payada is considered an important part of the national culture, so they promote counterpoint events and even competencies between payadores and rappers.

In fact, on July 23, Argentina commemorates National PAYADOR Day, celebrated for the first time in 1996. That arose after a Payada between an Argentine and an Uruguayan.

In 1884, 2 payadores celebrated a Payada in the Uruguayan city of Paysandú. It was the Uruguayan Juan Nava and the Argentine Gabino “El Negro” Ezeiza, who gave rise to the national PAYADOR day. Since then, every July 23, dozens gather from the monument located in Tres Arroyo’s town to celebrate their day.

In Uruguay, where the Payada also has popularity, they celebrate the day of the PAYADOR on August 24.

Payada in Chile and Brazil

In Chile, the affection for Payar is also estimated and is known as “pallada” with double ll. It stands out in the central area as part of the peasant culture. “The most used verses are the quartet and the tenth. The legendary counterpoint in the quartet between Juan de la Rosa and the mulatto Taguada is the most outstanding account of this tradition. “

In Brazil, the Gauchosca region in the south stands out, which is like an extension of the Río de la Plata. There it is called Pajada, which in Portuguese sounds like “Payada”

In Brazil, the “Pajadas” are sung in Verses of Tenth Espinela, with an accompaniment to a support musician, usually following the style of Milonga. The Payador or Pajador in Brazil is considered a “repentista”, a name used by artists who sing improvising the verses in that country.

Payada in all Latin America

The Payada is present in many parts of Latin America and the Caribbean. Even Cuban people have their Payada tradition.

On the other hand, there are musical art genres whose essence is the same. Such is the case of Colombia’s piquería. Here they highlight the story of Francisco Moscote, “Francisco El Hombre” Character mentioned in the book “One Hundred Years of Solitude” by Gabriel García Márquez. The anecdote tells that “Francisco El Hombre” faced the devil in a vallenato “piquería” and defeated Belcebu singing the Catholic Creed backward, making him flee in terror.

A similar story is “Florentino and the Devil” from Venezuela. In this story, the devil challenges a cowboy called Florentino to a night of singing (counterpoint). The legendary Llanero defeated Satan with his verses, entrusted to the Holy Trinity. This poetic work by Alberto Arvelo Torrealba is a composition made in eight syllables using the tenth. In other words, what in Venezuela is called a counterpoint is a style of Payada. Or we could also say the Payada is a counterpoint style.

The art of Payada, like the rap and hip hop genre popular today among youth, also consists of rhyming verses. Although they are different musical styles, they have the essence of rhymes and improvisations that characterize the Payada.

We also invite you to read our post: The Irresistible Merengue: Dominican Republic Music

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This likable, easy-to-dance rhythm has its origins in the mid-19th century. When became popular in the most populated cities of the Dominican Republic, replacing the European contradanza.

Origins of the Word Merengue

There are many theories about the name and beginnings of this tropical music. According to Flérida de Nolasco, Dominican musicologist, the denomination “Merengue” originates from the fudge known by the same name. The short and precise rhythms of this dance seem like the beating of the egg whites, similar to when the fudge is prepared.

Other writers attributed the name to the French word “Meringue” a European dessert introduced to Haiti. This legendary dessert is made with a mixture of egg whites and sugar. Haitians began to use this word to refer to a danceable musical genre.

The renowned Dominican historian Emilio Rodríguez Demorizi says that merengue emerged as a form of dance between 1844 and 1855 in the nascent Dominican Republic. Years later it became an emblematic symbol of that country and a piece of popular music in Latin America and the Caribbean.

Perico Ripiao and Merengue Orchestras 

Like other danceable musical genres, merengue has its variants. The oldest style is the typical merengue or “Perico Ripiao” played with accordion, güira, and Tambora. The name of “Perico Ripiao” appeared at the beginning of the 20th century, when merengue found its way into the most popular social strata of the city of Santiago known as El Cibao. They say this name is associated with a brothel called “Perico Ripiao.”

At that time in the Dominican Republic, “ripping the parakeet” referred to the sexual act. As merengue was the music that was heard the most in that place, people began to associate the genre with the name of the place. The phrase “we are going to dance a Perico Ripiao” became popular.

Government decree

As it was considered an ordinary rhythm, the merengue was rejected by the highest social class in that country. As the dictator Rafael Leónidas Trujillo wanted to increase his popularity among the masses, he drove the arrival of this irresistible rhythm to all classes making it a Dominican symbol.

Starting in 1950, several merengue orchestras were formed. Instruments such as the trumpet, the saxophone, the double bass were added and thus the so-called orchestral merengue was born. In the 1960s, the migration of Dominicans to New York brought merengue out of the Dominican Republic.

It was at that time that renowned figures such as Francis Santana, Frank Cruz, Alberto Beltrán, Joseíto Mateo (known as the king of merengue), and Tatico Henriquez, emerged. Among the merengue classic songs of that time are: “El negrito del Batey”, “Caña brava” and “Compadre Pedro Juan”.

The 70s and the golden age

The 70s represent the consolidation of “The Merengue” in the broad Hispanic spectrum. This irresistible rhythm was popularized on a large scale, ideal to enliven the parties of Latin American families. In those years, Johnny Ventura, † 2021 known as El Caballo Mayor, stood out. Ventura with his orchestra, the Combo Show, put humor to the lyrics of his songs giving an innovative touch to the genre. Such is the case of one of his greatest hits “Un poquito para atrás por favor”. (A little bit back please).

Another merengue great figure was Wilfrido Vargas. With Los Beduinos Orchestra, Wilfrido revolutionized merengue by showing the public a more accelerated style. His name will remain as one of the most important and recognized artists in the history of Caribbean music. He also promoted too many singers and musicians who are currently widely recognized.

Figures driven by Wilfrido Vargas

From Los Beduinos orchestra, emerged talented singers such as Sandy Reyes, Mickey Taveras, Eddy Herrera, and Jorge Gómez, whom Wilfrido included in his group, because of his incredible high-pitched voice. The voice of this singer becomes confused with that of a woman due to its ability to raise the tone. Some songs that Gómez sang in the orchestra were “El jardinero” and “El loco y la luna” among others.

Rubby Pérez also deserves a particular mention. This unique interpreter took his first professional steps in the group “Los Hijos del Rey”, a creation of Wilfrido. He achieved the final consecration when he became a member of Los Beduinos.

Wilfrido’s Creations

In the Dominican Republic and New York, numerous orchestras emerged. Years later, the new generations fused merengue with other Caribbean rhythms and even with rock and roll.

One of the first groups created was “Los Hijos del Rey”. Referring to Wilfrido Vargas as King of the merengue as he began to identify him. In that group, Bony Cepeda, Raulín Rosendo and Fernandito Villalona participated as the main voice. All of them gained enormous popularity that led them to become professionally independent and build the reputation they have today.

Another group that reached a great impact with the support of Wilfrido, although it was not his creation, was “Las Chicas del Can”. From this orchestra, whose main characteristic is that it was made up of women, many others later emerged. The interpreters Mirian Cruz and Eunice Bentances stood out among others no less important than were part of the “Las Chicas del Can”.

Among Wilfrido’s other creations, the so-called “Altamira Banda Show” and the “New York Band” represent the extent of Vargas’ influence among the populous and renowned community of Dominicans and the Latin Caribbean in the upper Manhattan of New York.

Johnny Ventura vs Wilfrido Vargas

Everything seems to indicate that those rivalries between reggaeton artists and rappers are not new. In the years of The Merengue boom, there was a strong media rivalry between the greats Johnny Ventura “El Caballo Mayor” and Wilfrido Vargas. The impact of this rivalry in the Dominican Republic divided the Caribbean country in two: “the Wilfridists” and “the Johnny Venturists”.

On the one hand, was Johnny Ventura with his Combo Show, with a more traditional but humorous merengue. On the other Wilfrido Vargas with The Beduinos orchestra, who increases the speed creating a faster merengue. Both proposals had their public and their detractors.

The false attack

It is said that the rivalry was so strong that a whole media show was created between the two artists. One of the most remembered rumors of that situation was the supposed placement of a bomb on an airplane where Wilfrido and his orchestra would travel. Ventura’s group was accused of plotting that attack. However, the information was later found to be false.

Advantaged children

It is also commented that the creation of the orchestra Los Hijos del Rey by Wilfrido Vargas was intended to compete with the Combo Show of Johnny Ventura. Everything indicates that the operation did not work, since the group began to stand out in such a way, that at a certain moment, Los Hijos del Rey began to be more in demand than Wilfrido’s orchestra. This generated discontent among the members of Los Beduinos. That was the reason why Bonny Cepeda and Fernandito Villalona decided to consolidate their solo careers.

At present, Wilfrido Vargas and Johnny Ventura assure that there never was such a rivalry between them, but that it was something that was generated between the fans and the media. However, something must have happened. On one occasion they appeared on a television program, denying any dispute between them and even recorded together, to calm those who believed in that rivalry.

What is true, is that both are two of the greatest exponents of merengue. Each one has given it their personal touch while remaining in the collective memory of Latin American and Caribbean families.

Some of Johnny Ventura’s musical hits are “Patacón pisao”, “El tabaco” and “Capullo y Sorullo”. On the part of Wilfrido Vargas, “The African”, “Soy un hombre divertido” (I am a funny man) and “El baile del perrito” (doggy´s dance) stand out among many others.

Other Outstanding Merengue Figures

Other figures also emerged from the populous New York community. Such is the case of the prominent Milly Quezada, who emigrated to the Big Apple at an early age, where she graduated with honors in communication and media. At the same time, she built a musical career with the group formed with her brothers. Milly is one of the most reputable merengueras today.

Other figures and groups from the Dominican Republic also deserve a special mention. Among these, we can highlight Sergio Vargas, whose only affinity with Wilfrido is the Dominican nationality. Sergio is a singer who had a hard time achieving success. He usually says that was because of his physical appearance. However, the humble “Negrito de Villa”, as he is also known, is one of the singers with a respectable number of internationally popularized hits. We can mention: “Los diseñadores”, “Al ritmo de la noche”, “Si algún día la vez”; his version of the super hit “La quiero a morir” and “Marola”, among others.

Other highly successful groups are Cuco Valoy and his son Ramón Orlando Valoy; El conjunto Quisqueya; The Rosario brothers, Josie Esteban and his patrol 15, among many others no less important.

Merengueros from Puerto Rico

This irresistible rhythm also has its representatives in Puerto Rico. From there, stand out the unique Olga Tañón and Elvis Crespo among others.

The 90s and Actual Times

At the end of the 80s and the beginning of the 90s, new merengue figures appeared. Such is the case of the renowned musician and singer Juan Luis Guerra. With his group called “Juan Luis Guerra and 440”, he creates more stylized merengue.

It is known that Juan Luis studied at the prestigious Berklee College in Boston. Initially, he had the idea of ​​making a jazz version of the Dominican merengue, and he did it in his first production entitled “Soplando” (Blowing). After its commercial failure, he began to reformulate his project.

Later his next record productions came out with a more stylized Merengue and with poetic lyrics that adjusted very well to the generation close to the end of the century. His album “Mientras más lo pienso, tú”, includes songs like “Tú” and “Me enamoro de ella”. (I fall in love with her).

He achieves enormous popularity with his albums “Bachata Rosa” and “Ojala, que llueva café” (I hope it rains coffee). The most liked songs on this one are “Woman del Callao”, “Visa para un sueño” and the one with the same name as the album. Since then he has become an ambassador of merengue in the world.

The new merengue trends

In the 1990s, the children of Dominican immigrants in New York began to fuse the urban American rhythm of rap and hip hop, with the irresistible Dominican rhythm. This was how The Merengue house or Merengue hip hop aroused.

The first groups to achieve recognition are Proyecto Uno, Illegales and the unforgettable Sandy and Papo. Later, many others groups became known, being Fulanito one of the most popular.

Since then the business and the taste of the new generations in music changed and from those movements, the urban rhythm and its aspects came out. However, the irresistible merengue does not stop dancing.

Today, merengue continues to be one of the most listened to dance genres in family celebrations, friends’ gatherings, and festive events. Its interpreters have spread all over the world, mainly captivating the Hispanic public with that joy that characterizes this irresistible tropical rhythm.

We also invite you to read our post: “The Unique Venezuelan Zulian Gaita”

La entrada The Irresistible Merengue: Dominican Republic Music se publicó primero en ehplustv.com.

Origin

All the information read agrees in affirming that the exact origin of the gaita was lost in time. In turn, the name, as described by those who have delved into the investigation of the subject such as Agustín Pérez Piñango, and Régulo Díaz, The qualifier of gaita has prevailed in Zulia because of the similarity, with the demonstrations of the same order that are usual in some regions of Spain, especially in Galicia, where the Galician gaita stands out. These manifestations are a boisterous party in which happy tunes are expressed based on instrumentation.

This type of musical manifestation was rooted in the popular Zulian classes. These communities emulated the Hispanic tradition, giving particular characteristics that give life to a Creole and mestizo party. Initially, the gaita is linked to the Catholic liturgy in December, in honor of the Virgin.

Over time, it underwent several transformations, but it maintained that small-town essence and that Zulian, joyful, popular, emotional, sentimental, and deeply religious affinity, thanks to the devotion to the Chiquinquira Virgin.

Another version

Another version is also known, which places the origin of the Zulian gaita in the canton of Gibraltar, a region located in the southern area of Lake Maracaibo. There was a great introduction of African slaves to attend the workshop on the farms in the area. It is mentioned, that the inspiration for these songs was the result of the bad treatment received by the slaves. They began to sing songs that represented their complaints about the attitude of the oppressive master.

Giving origin to the gaita of the southern area of the lake, whose history evokes a painful event for Africans vilely subjected to slavery.

The result

Through time this dispute over the origin of the gaita endured the opinion among its cultists. However, this has not affected the creation and development of the musical manifestation. Deeply rooted among the Zulian people and spread throughout the Venezuelan territory.

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