The evolution of Cuban music has unfolded in a continuous and systematic interaction and integration of cultures, the product of multiple migrations from different geographical areas: European, Asian, American regions and other Caribbean islands, for this the Cuban musicologist Dr. C Victoria Eli characterizes Cuban music as a complex product of synthesis of a heterogeneous and extensive process of cultural interactions which, over four centuries, have shaped a musical culture and its own sound folklore, giving rise to new genres of indisputable quality.
From this diversity of cultures we can distinguish the Hispanic and African influences, fundamental in the synthesis that takes place in the process of transculturation. This term was introduced for the first time in 1940, by the Cuban scholar Don Fernando Ortiz (1881-1969), with the publication of his book Cuban counterpoint of tobacco and sugar.Transculturation is a complex phenomenon of interaction between two cultures and their mutual influences, with the formation of a new and different culture of synthesis, interactions which depended, in part, on factors of a social, economic, political and cultural nature. , occurred from the establishment of the Spanish colonial regime (1512-1898), to today.
Migration to rural areas has not been an easy process. Despite forming the ruling class, the Spanish “conquistadores” included a wide range of different social strata. The vast majority were thieves, cheaters, with a very low intellectual level. All of these characters, who have been increasing their presence on the island since 1550, brought with them the first samples of song, heeled folk-traditional dance, plucked string instruments, for the most part, and a varied ballad.
Together with the Spanish population that arrived in Cuba, a great copler came, which was a synthesis of ancient ways of singing and a versified saying. This copler responded to the multiple circumstances that the Spanish people were going through, with coplas for all occasions. But this underwent a profound change in America, adapting to new social relations in which the white sectors of the exploited class remained.
During the 16th century and also including the 17th and 18th centuries, there was a ruralization processof elements that had a Hispanic origin and also in urban environments; I mean the tenth, the guitar, the bandurria, the dotted in these instruments in opposition to the rasgueado, and some zapateados which were already practiced in Spain. An example of this process is the Cuban zapateo, which has been around since the beginning of the 19th century.
Guajira music has received, since the first decade of the 20th century, a strong reintegration of Hispanic elements due to Spanish immigration into different branches of the minorities and export trade, as well as agricultural work. Another factor was the illegal entry of Spaniards, most of whom were engaged in tobacco production and agricultural work. All of this has resulted in a reintroduction of Hispanic elements which have now become more colorful. This influence was felt in both urban songwriting and guajiro singing; so little by little they went away whitening some of the black traditions, which were taking Hispanic elements and incorporating them into their daily lives.
Guajiras and Criollas were also part of the versified saying of the Cuban peasant where they sang the beauties of the countryside and the beauty of women (guajiras). When these genres are mentioned, it is generally done simultaneously, however, La Criolla is a genre that emerged in the Dominican Republic, with The Dorilla, the composer Alberto Vázquez; however, due to use by our Cuban population, it appears to have originated with us. Among the music that is cultivated and practiced in rural areas, we also have the dot guajiro and the expressions directly related to it. Dot, as one of the many genres cultivated in rural areas and with which we will identify our farmers, is closely related to the contributions of the Hispanic background of our culture, in addition to other influences already mentioned due to the process of transculturation and synthesis. Currently we are trying to safeguard this type of music by increasing the diffusion of these genres through the mass media, as well as their presence in events and theoretical competitions to keep our traditions alive.
