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List of Figures

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  • Project HomeConga Santiaguera: A Century of Innovation and Competition
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Notes

table of contents
  1. Introduction
    1. In Search of Conga
    2. Overview of Chapters
    3. Notation and Terminology
    4. Rhythmic Archetypes
  2. Part 1. Building the Groove
    1. Chapter 1. Santiago before the Conga
      1. Carnival in Santiago
      2. The African presence: Cabildos de Nación
      3. Nineteenth Century Comparsas
      4. The Early Twentieth Century
    2. Chapter 2. Rival Grooves (c. 1910–1929): El Tivolí and Los Hoyos
      1. Sources
      2. c. 1913: La Conga del Tivolí's Golpe de Columbia
      3. c. 1914: Los Hoyos' Golpe Pilón
      4. The bokú salidor: Congo roots?
      5. The Haitian connection
      6. The corneta china: from China to Occidente to Oriente
      7. 1915–22: The completion of the “conga triangle”
      8. 1928: Matamoros: Representing Oriente (and El Tivolí?)
    3. Chapter 3. The Transitional Period (c. 1929–1939): Campanas, Tamboras and “Paan;” the Demise of La Conga del Tivolí
      1. Campanas: Building a Sonic Identity
      2. Nanano: Unsettling the Groove
      3. “Paan” in the Clave Matrix
      4. c. 1936–39: Los Hoyos' Groove Conquers Santiago; The Triangle Shifts
  3. Part 2. Nurturing the Tradition
    1. Chapter 4. The Model Groove
      1. Introduction
      2. Pilón and Requinto: A Sturdy Foundation
      3. Bells (Campanas, Llantas or Brake Drums): Reinforcing the Foundation
      4. Bokús: Balancing Reinforcement and Syncopation
      5. The Tambora: Shaking the foundation
      6. The model groove on Vinyl: the Panart Sessions
      7. The corneta china as guia: musical guide and lead singer
      8. “Standard Form” emerges
      9. Piquetes (combos or factions): local soundscapes within the conga
      10. The Comparsita: a hyperlocal mini-conga
      11. Conclusion
    2. Chapter 5. Conga Paso Franco: Heirs to El Tivolí
      1. Introduction
      2. Memory on display: Commemorating 1911
      3. The Paso Franco Sound: Pa' Guarachar
        1. Musicians of Paso Franco
        2. Coros
      4. Conclusion
    3. Chapter 6. La Conga De Los Hoyos: La Conga de Cuba
      1. Introduction
      2. El Foco: Community Memory on Display
      3. El Cocoyé invades and occupies Havana
      4. Los Hoyos' Groove: Inconfundible
      5. Anthems: Singing Identities
      6. La Epoca de Oro (Los Hoyos' Golden Age)
      7. Familias Congueristicas (Conga Families)
      8. Los Ases Del Ritmo (The Rhythm Aces): the Masters
      9. Conclusion: La Conga Madre
    4. Chapter 7. Conga San Agustín: Con el Tamarindo
      1. Introduction
      2. Los Millionarios (The Millionaires)
      3. The San Agustín Sound
      4. Los Ralladeros: creators of the San Agustín sound
      5. New Generations and Transition: Carlitín and Raulito
  4. Conclusion
  5. Glossary
  6. References
  7. List of Figures
  8. List of Video Examples
  9. List of Musical Examples

List of Figures

Chapter 1

  1. Figure 1.1. Map of Santiago de Cuba showing Los Hoyos, El Tivolí, and El Guayabito neighborhoods. Image from Google Maps.
  2. Figure 1.2. Scepter, crown and throne of the Congo King, Museo Bacardí, Santiago. Tumba Francesa drum, possibly erroneously attributed to the Cabildo Congo. Photo by author.

Chapter 2

  1. Figure 2.1. Map showing Los Hoyos, El Tivolí, and Mejiquito neighborhoods. Image from Google Maps.

Chapter 3

  1. Figure 3.1. Map showing the modern “conga triangle:” Los Hoyos, Paso Franco and San Agustín traditional rehearsal locations, 1939–present. Image from Google Maps.

Chapter 4

  1. Figure 4.1. Form and timestamps for “Conga en Oriente.”
  2. Figure 4.2. “Standard Form” with timestamps for “Ases del Ritmo en la Calle.”

Chapter 5

  1. Figure 5.1. Carnival Banner, Conga Paso Franco. Photo by Andres Cobas Martens.

Chapter 6

  1. Figure 6.1. Lázaro and Félix Bandera with instruments.
  2. Figure 6.2. Performance for foreign visitors, 1999; Félix Bandera Bles (in white shirt), musical director; Sebastian Herrera Zapata “Chan” (standing next to pillar), director; statue of Eleguá in lower left corner. Photo by Daniel Chatelain, Ritmacuba.com.
  3. Figure 6.3. La Invasión (The Invasion) by Alberto Lescay. Photo by Lázaro Bandera Malet.
  4. Figure 6.4. Bust of Guillermón Moncada by Alberto Lescay. Photo by Lázaro Bandera Malet.
  5. Figure 6.5. West wall, foco cultural, Conga de Los Hoyos, 2019. Photo by author.
  6. Figure 6.6. Framed photo of Gladys Linares on wall of Los Hoyos' foco cultural. Photo by Lázaro Bandera Malet.
  7. Figure 6.7. Carnival banner: “Conga Los Hoyos remembering Gladis the bell player.” Photo by Lázaro Bandera Malet.
  8. Figure 6.8. Painting of Sebastian Herrera Zapata “Chan” by “Boza.” Photo by Lázaro Bandera Malet.
  9. Figure 6.9. Carnival parade banner paying homage to Chan: “Remember him.” Photo by Jackie Lavalle.
  10. Figure 6.10. Carnival parade banner honoring Chan: “What they did and what we do.” Photo by Jackie Lavalle.
  11. Figure 6.11. Parade Banner: “The Authentic Cocoyé.” Photo by Daniel Chatelain, Ritmacuba.com, France, 1994.

Chapter 7

  1. Figure 7.1. Raúl López, Conga San Agustín (left) and Arlis Cabrera, Conga San Pedrito (right) holding brake drums. Photo by author.

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