Plena music (Huele a café) Lyrics & music by Neftali Rivera

Plena is an Afro-Puerto Rican folk music and dance tradition that emerged in the early 20th century, known as “el periódico cantado” (the sung newspaper) for its narrative, topical, and socially critical lyrics. Characterized by its call-and-response singing, distinctive pandereta drums, and the scraped gourd güiro, plena music tells stories of community life, laments social injustices, and celebrates resistance and pride. It is a vibrant cultural expression that serves as a vehicle for social commentary and communal affirmation, performed during holidays, civic events, and protests.
 

“La Bomba”

De la loza ( Bomba by Ramon Cancel L&m)

            La Bomba is a traditional dance form on the island of Puerto Rico. Known as the “dance of slaves,” this dance was typically performed on sugar plantations in the Caribbean. Sugar plantations were established along the coast, which is why La Bomba is spread out along the sea. The instrumentation of Bomba usually consists of one large drum, a buleador, and a maraca used by the main singer. The lyrics, which are comedic, satirical, and sometimes sensual, are sung in a call-and-response fashion. It was used as an expression that provided an escape from the hardships of slavery.

            Bomba is a dialogue between the dancer and drummer. It begins with a female soloist named “Laina,” who sings a phrase evoking a primitive call. The drummer plays a rhythm and the dancer responds in a “freestyle” manner while swishing their skirts around. Men usually wear all-white attire and a fedora hat, while women wear plantation-style shirts and a headscarf. Men and women both participated in this dance, but they did not dance in a partner form or touch each other at all. “After the abolition of slavery, in 1873, the free slaves and their descendants followed the tradition of La Bomba as a social activity.” It eventually evolved from a dance of the slaves to one adopted by the popular and upper classes.  But there was still a rift between the lower and upper classes. “At least until the 1840s, the island’s dances were divided into two types: one known as the bailes de sociedad, or high society, which consisted of adaptations of polkas, waltzes, and other European dances, and the bailes de garabuto, the popular dances.”