| African Region / Ethnic Group | Cuban Religions / Traditions | Cuban Dances / Genres |
|---|---|---|
| Nigeria (Yoruba) | SanterĂa (Regla de Ocha) | Orisha dances (to Shango, YemayĂĄ, OchĂșn, ElegguĂĄ, etc.); staged folkloric Yoruba dances; influence on Rumba & Son movement |
| Nigeria (Igbo / Efik) | Lesser-preserved lineages | Ritual dances in some Afro-Cuban ceremonies, body isolations integrated into popular dance |
| CameroonâCongo (Bantu/Kongo) | Palo Monte (Regla de Palo), Congo cabildos | Palo dances, Makuta, Yuka; Congo-style dances; major influence on Rumba ( Columbia & GuaguancĂł) |
| Dahomey (Fon/Ewe, Benin area) | ArarĂĄ religion ( Matanzas) | ArarĂĄ ritual dances, with distinctive footwork and body undulations |
| CarabalĂ (Calabar, SE Nigeriaâ Cameroon border) | AbakuĂĄ society | Secret society dances (ekĂłn, plante), influence on male rumba styles |
| European (Spanish / French) | Secular ballroom, Creole culture | Contradanza, Habanera, DanzĂłn, Cha-cha-chĂĄ, Mambo, etc. |
| Mixed Creole (African + European) | Popular Cuban music & dance | Son, Rumba, Salsa, Casino (Cuban salsa), Timba |
casino dance is a fun, social group dance often performed at gatherings where participants line up or form groups to follow simple, synchronized steps, usually to upbeat Latin or pop music.
A Cuban dance and music style created in the early 1950s by Enrique JorrĂn, evolving from the danzĂłn-mambo tradition in charanga orchestras.
Cuban rumba is an Afro-Cuban music and dance genre characterized by complex rhythms, call-and-response vocals, and expressive, often flirtatious movements, rooted in African and Spanish traditions.
Rumba columbia dancing is a fast, acrobatic solo male dance in 6/8 time, where the dancer shows agility, balance, and improvisationâoften mimicking machete fights, martial moves, or acrobaticsâwhile dialoguing playfully and competitively with the lead drum (quinto).
The dance involves a flirtatious "chase" between a male and female dancer, with the male attempting a symbolic pelvic thrust called the vacunao, and the female using body movements to evade or accept it.
Arara
Danced at religious festivals, often in honor of the Orishas.
In Cuban music, especially in salsa and son, the " mambo" section typically refers to a brassy, rhythmically intense instrumental break, often featuring repetitive horn lines, call-and-response patterns, and building energy toward the climax of a song.
In Cuban music, especially in salsa and son, the "mambo" section typically refers to a brassy, rhythmically intense instrumental break, often featuring repetitive horn lines, call-and-response patterns, and building energy toward the climax of a song.
YemayĂĄ â several specific toques for YemayĂĄ.