CubaPLUS Magazine

A land of music and dance, Cuba carries in its veins the cultural legacy of both expressions, intertwined since their origins, evolving side by side and today standing as undeniable hallmarks of national identity.

Whether through son, mambo, cha-cha-cha, conga, or casino dance, in the largest of the Antilles, dancing is an expression of cultural awareness, a tribute to past generations, and a way of safeguarding a legacy for those to come.

In son and casino, for example, tradition and modernity converge. They complement each other, drawing from evolving aesthetic movements while preserving their essence, powerful enough to shake off negative energy, break inertia, and get even those with “two left feet” onto the dance floor.

History tells us that son, a vocal and instrumental dance genre, emerged in the eastern region of the country, in provinces such as Guantánamo, Granma, and Santiago de Cuba in the late 19th century, although there is evidence of earlier forms dating back to the 16th century.

Thousands of people around the world have fallen under the spell of this harmonious blend, built on plucked string instruments like the guitar and the tres, alongside the marímbula, double bass, bongos, maracas, and claves.

Today, it is recognized as a foundational pillar in the evolution of Cuban music and Latin American music as a whole, particularly in salsa, which is deeply rooted in son.

Its lyrics, in their simplicity, gave voice to the hopes and aspirations of the most humble sectors of society, where the genre first emerged, while its catchy refrains secured a lasting place in popular taste.

In 2012, son was declared part of the nation’s cultural heritage. May 8 was established as Cuban Son Day, marking the birth of Miguel Matamoros (1894–1971), one of the genre’s most influential figures. On December 10, 2025, it was inscribed on UNESCO’s Representative List of the Intangible Cultural Heritage of Humanity.

Excuse Me, Here Comes Casino Since bursting onto dance floors in the 1950s, casino has only reaffirmed itself as a quintessentially Cuban expression. It is not a passing trend, nor a copy of any foreign rhythm.

According to researcher and 2011 National Award for Artistic Education recipient Graciela Chao, its foundations lie in key elements of danzón, urban son, and cha-cha-cha. In her view, the contribution of these styles is found in the “basic steps, turns, walks, marks, the box, and numerous figures.”

These expressions, recalls the former dancer of the National Folkloric Ensemble, took shape in the dances held at the Casino Deportivo de la Playa de Marianao in Havana. From there, danced in pairs or in the famous Rueda de Casino, a coordinated choreography of multiple couples, it quickly became a nationwide phenomenon that soon spread beyond the island’s borders.

As Cuban popular dance music evolved throughout the second half of the 20th century, and as dancers became increasingly demanding, casino also underwent a qualitative leap, becoming adaptable to emerging rhythms.

As a dance form, it absorbed the distinct character of each new musical wave on the national scene. Casino dancers move effortlessly to songo, introduced in the 1970s by Juan Formell and Los Van Van, and similarly embraced salsa during that same period.

It also adapted to more modern interpretations of son, innovatively promoted by the late maestro, composer, arranger, and National Music Prize recipient Adalberto Álvarez, and later to timba and its many variations.

Today, the many branches of Cuban popular dance music remain vibrant and widely enjoyed across generations, reflecting the Cuban spirit, its evolution, creativity, and expressive power.