CubaPLUS Magazine

Rumba defines a status andremains deeply embedded inCuba’s popular culture, where itemerged as a festive mix of dance, music,and all the traditions tied to it.

This genre has African roots, broughtby enslaved people who arrived withtheir music and deities. However, italso carries influences from Antilleanidiosyncrasies and elements of Spanishflamenco.

Historical references indicate that rumbaoriginated during the colonial period,amid the expansion of the sugar industry,with its birth traced back to the late 18thand early 19th centuries. It first tookroot in marginalized neighborhoods,particularly in Havana and Matanzas,before spreading throughout the country.

One of rumba’s greatest exponents waspercussionist Federico Arístides Soto(Tata Güines, 1930–2008). Following inthe footsteps of another legend, ChanoPozo, he stood out for his contributionsto folkloric music as well as Afro-Cubanand Latin jazz.

The legacy of Tata Güines continuesthrough his son, Arturo Soto (Tata GüinesJr.), who preserves his father’s culturalheritage as the director of the musicalgroup that bears his name.
“Rumba is vast—there’s no musicwithout it,” Soto affirms. “Especiallybecause of the clave rhythm, which inCuba is played in a two-three pattern.But anywhere in the world, mentioningrumba is enough to start a party. Andyet, nowhere is it enjoyed as much ashere, with all these influences blendedtogether,” he proudly states.

For years, people have used the phrase“I’m going to a rumba” to mean “I’mgoing partying.” In the blink of an eye,a rumba could start spontaneously,bringing a crowd together with itsinfectious rhythm.
Rumba: The Essence of Cuban Culture

Rumba could be played on a woodencrate, a door, a countertop, a suitcase—anywhere the distinctive rhythm could be heard. Even today, all it takes is agroup of friends, musicians or not,gathering in an open space to spark animpromptu rumba.

“Let’s not forget that many sugarcaneworkers played a role in rumba’sevolution. After the sugar harvest endedin Matanzas or Havana, they would bringtheir dances and songs to new regions,blending different styles,” he recounts.

One variant of rumba, columbia,originated in Matanzas. It differs fromHavana’s style with its more cadencedrhythm and is traditionally performedsolo by men, showcasing their agility andskill—sometimes even with knives.

Another style is guaguancó,characterized by its playful nature andflirtatious movements between dancers.It often incorporates elements ofcourtship and friendly rivalry.
Then there is yambú, a slower and more measured variation, typically dancedby older couples. Unlike the morecompetitive guaguancó, yambú has amore introspective and graceful quality.

“As rumba moved out of the tenementcourtyards and into public parks, moresingers and dancers emerged,” Sotoexplains. This cultural evolution led torumba’s inclusion in Havana’s Tropicanacabaret show, where renowned groupslike Los Papines, Tata Güines, andChanguito brought it to the world stage.This famous show under the stars earnedinternational recognition.

Prestigious rumba groups began toemerge in Havana, including YorubaAndabo, Clave y Guaguancó, Muñequitosde Matanzas, and Afrocuba, amongothers.
“These musicians carried rumba intojazz, son, chachachá, rock, pop, andsoul. Wherever you hear two congas ortumbadoras, you’ll find rumba.”

A UNESCO World Heritage Treasure

The term rumba defines an artistic and social expression—one that encompasses not only music but also specific melodic, polyrhythmic, and percussive patterns. This rich cultural  tapestry earned rumba a place on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.

However, as Tata Güines Jr. notes, achieving this recognition required tremendous effort.

“It was a difficult journey. Getting rumba onto that list was not easy because not everyone welcomed it. We had to advocate tirelessly, building on the work of those who came before us. But thanks to institutional and individual support, we succeeded,” he says.

Following this milestone, plans were set in motion to build the Palace of Rumba, which is currently under restoration. As a passionate advocate for Cuban heritage, Tata Güines Jr. is committed to preserving this space and hopes for institutional support to keep the tradition alive.

Several festivals celebrate rumba’s legacy, including Rumbatazo in the eastern province of Camagüey (led by the group Rumbatá), Tata Güines In Memoriam (for which Tata Jr. serves as President), and Havana Drum Festival “Guillermo Barreto In Memoriam” (led by Giraldo Piloto).

“In my father’s hometown of Güines, we’re also creating a space for rumba jam sessions. Rumba is a grand institution—we cannot let it fade away. All of this helped solidify its status as a World Heritage treasure,” he asserts.

Spreading Across the Globe

“Rumba has spread worldwide through schools and venues that teach it and host jam sessions,” Soto explains. “One of the most rewarding developments is the creation of children’s rumba academies.”

He lists several countries where rumba is thriving, including Japan, Mexico, the United States, and the Dominican Republic. In December, Rio de Janeiro, Brazil, will host the Festival Tata Güines In Memoriam.

“My father, along with Angá, won a Grammy for the album Pasaporte (2002). Rumba has earned other accolades as well, thanks to the collaboration of great rumberos from different groups,” he says.

“In my opinion, many rumba performers were never properly recognized in their lifetimes.

 However,” Tata Güines Jr. concludes, “this rhythm deserves deep respect within our society—for its joy, its roots, and for being an essential part of Cuban identity.”