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Before there were styles like salsa and reggaetn, there was bomba. The name does not only refer to the ancient music genre, but it is also the name of the instruments and the dance that accompanies the music. Bomba is everything.

Unlike other music genres, the bomba dancer sets the rhythm for the musicians rather than the other way around. It resembles a conversation between one dancer in the center and the main bomber. The buleador is the drum that marks the beat, but the seguidor or primo is the star of the show. He is the one that follows and imitates in sound the steps of the dancer. There is only one maraca, usually played by the singer, and other instruments like the cu, that complement the music.

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In ancient times, men used to dominate the bomba scene with strong jerks and sharp steps, while the women used skirts to make subtle swings and shy movements. Then came Caridad Brenes de Cepeda, a woman who broke the unspoken rules of bomba, changing the genre forever. She used her skirt to make more aggressive moves, raising it higher than before as a sign of rejecting oppression.

Now, the bomba scene is dominated by a proud female presence, from singers to drummers and dancers that take the space to express their frustrations about inequality, gender gaps, and other struggles.

There are many places where you can learn this Puerto Rican tradition right alongside the Boricuas who carry it on. Schools like the Don Rafael Cepeda School of Bomba or El batey de los Hermanos Ayala are now teaching bomba drumming and dancing to new generations. Meanwhile, you can enjoy a night of live percussion, songs, and dance at places like La Terraza de Bonanza in Santurce, El Boricua in Ro Piedras, La Vergenza in Old San Juan, and others that offer weekly performances.

This article considers three arguments to support the inclusion of bomba in the general music classroom. First, this musical expression incorporates elements that form part of most general music curricula, such as singing, dancing, drumming, and improvising. These components make bomba an engaging tool for introducing students to important music concepts, develop critical thinking and creativity, and expand their aural experiences (Blair & Kondo, 2008; Fung, 1995). Second, music is at the heart of Puerto Rican culture. Bomba remains one of the most popular forms of folk music on the island, and many cultural events highlight this genre for entertainment. By studying bomba, students get a glimpse into the life and traditions of this country, which positions it as a powerful source for developing intercultural understanding. Last, this musical art allows teachers to practice diversity, equity, and inclusion by providing musical experiences that are culturally responsive (Lind & McKoy, 2016). There has been an unprecedented migration from residents of the Caribbean island of Puerto Rico to the mainland United States during the past 10 years. This trend increased recently in part to the catastrophic effects of Hurricane Maria in September 2017. Federal data suggest that after the impact of this hurricane, people moved from Puerto Rico to every state in the United States (Sutter & Hernandez, 2018).

It is important to specify that bomba encompasses more than 16 rhythmic styles and that their popularity varies by region. Each rhythm sets the pace of the singing and dance and calls for a different attitude. Some styles, such as sica, yuba, guembe, belen, corve, and cunya, have names that recall their African origin. Others like holandes (from Holland) and lero (the roses) are labeled after European terms and French creole words adopted from neighboring Caribbean islands (Brill, 2017).

Dufrasne-Gonzalez, J. E. (1994). Puerto Rico tambien tiene tambo: Recopilacion de articulos sobre la plena y la bomba [Puerto Rico also has a drum: Compilation of plena and bomba articles]. Paracumbe.

Vega-Drouet, H. (1970). Historical and ethnological survey on probable African origins of the Puerto Rican bomba, including a description of Santiago Apostol festivities at Loiza Aldea (Order No. 7920645) [Doctoral dissertation, Wesleyan University]. ProQuest Dissertations and Theses Global.

These gatherings serve to promote political awareness. Singers often weave new lyrics into traditional bomba songs to reclaim their African heritage and denounce social issues such as gender violence, government corruption, and the colonial status of Puerto Rico.

For these ancestral communities, the batey was a spiritual and political space where people shared sentiments and strengthened ties. They celebrated significant social events and sometimes planned acts of rebellion. Centuries later, thanks to the ancestors who fought to hold on to their culture, bomba remains a powerful tool of liberation.

For this reason, Lo Villahermosa, a longtime activist, practitioner, and teacher from Santurce (another working-class neighborhood in San Juan with a rich history in bomba), believes that one should give thanks before entering a batey to honor and remember the context in which bomba was conceived.

The group that organizes the Community Batey joined the bomba movement just two years ago. After attending a free workshop, they learned to dance, play, and even craft the barriles, the drums made from the wood of rum barrels. Months later, the work was interrupted by the pandemic. To mitigate the impact of social isolation, Keyla Baez, her partner Manny, and other community leaders began to meet in Plaza del Negro to practice and share what they had learned.Since then, people from all over Puerto Rico and other countries have visited La Perla to participate.

Today, the Community Batey of la Plaza del Negro is a well-known spot for those who wish to initiate themselves in the practice of bomba. Bomba masters and experienced musicians, like Lo Villahermosa, Jesus Cepeda, and Maribella Burgos, share their knowledge with adults and children who have never danced or played a barril.

With no expectations of help from the state, bomba practitioners like Keyla, Yesenia, Rashelle, and Manny have come together to forge solutions for their communities. The batey in La Perla, dedicated to both resistance and progress, is a prime example of this.

The Fredericksburg Area Museum (FAM), in partnership with Semilla Cultural celebrates Hispanic Heritage Month with Bomba in the Square. This program is an introduction to the traditional Afro-Puerto Rican dance and music style, bomba. Dating back to the seventeenth century, bomba is a percussion driven artform consisting of drums, maracas, and wooden sticks called cus, for banging the sides of the drums. Dancers improvise movement that the lead drummer follows and interprets simultaneously as the drum beats.

Bomba is a short grain rice that absorbs three times its volume in broth (rather than traditional two) for wonderful taste and firm consistency when used in traditional paella. We source absorbent grains of authentic bomba rice from Spain for our Bomba Valencia Rice.

Bomba de Aqu is directed by Brendalz Cepeda, also our lead dancer. Brendalz is the granddaughter of the great bomba performer Rafael Cepeda, and learned the art and its history in her family, first appearing on stage at the age of 5. She has a BA in Education, an MA in Special Education, and has taught Special Education in the Holyoke, MA school system for many years.

For Movimiento Cultural, a New Haven ensemble specializing in traditional Puerto Rican music and dance, the story of bomba is the story of that heritage. Movimento Cultural Instructor Cristina Lugo explained that bomba was developed in secret by enslaved people on the island of Puerto Rico, and the art form was one of the ways that enslaved people resisted and claimed a sort of liberation for themselves.

Lugo also pointed out how Tano culture is represented in bomba through instruments like the maracas and terms like batey and African culture is present in the drums. Spanish became a lingua franca among enslaved people and was used in bomba lyrics. Spanish influence is also found in the traditional clothing. 006ab0faaa