Last, this musical art allows teachers to practice diversity, equity, and inclusion by providing musical experiences that are culturally responsive (Lind & McKoy, 2016). 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. Bomba remains one of the most popular forms of folk music on the island, and many cultural events highlight this genre for entertainment. Second, music is at the heart of Puerto Rican culture. 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).
First, this musical expression incorporates elements that form part of most general music curricula, such as singing, dancing, drumming, and improvising. This article considers three arguments to support the inclusion of bomba in the general music classroom. The roots of this tradition can be traced to the Ashanti people of Ghana, and the etymology of the word “bomba” to the Akan and Bantu languages of Africa (Dufrasne-González, 1994 Vega-Drouet, 1970). Enslaved people also used them to celebrate baptisms and marriages, communicate with each other, and plan rebellions (Cartagena, 2004). In these areas, cane workers released feelings of sadness, anger, and resistance through fiery drums played in dance gatherings called Bailes de Bomba (Bomba Dances). The towns of Mayagüez, San Juan, Loíza, and Ponce, among others, were the cradle of the various styles that make up this genre. The practice was developed by West African enslaved people and their descendants, who worked in sugar plantations along the coast of Puerto Rico (Ferreras, 2005).
In fact, in recent years, bomba has been experiencing a resurgence thanks to the interest of young Puerto Ricans in knowing, understanding, preserving, and enjoying this distinctive part of their culture.īomba dates back to the beginning of the Spanish colonial period (1493–1898). It is fascinating to witness it is still thriving after many years, serving as significant evidence of Puerto Rico’s African heritage. This genre is considered one of the oldest musical traditions on the island.
If you walk through the streets of Old San Juan, a historic district in the capital of Puerto Rico, on the weekend, you will probably see people proudly playing and dancing bomba. Transcriptions of rhythms typically learned aurally are also included. The material presented in this article provides a learning sequence that could take the form of several lessons, or even a curricular unit. This article explores the main components of bomba by making them more accessible to those that have not experienced it from an insider’s perspective. It remains one of the most popular forms of folk music on the island and serves as significant evidence of its rich African heritage. This article will appear in the April 2021 issue of General Music Today, now Journal of General Music Education.īomba is an emblematic Puerto Rican musical genre that emerged 400 years ago from the colonial plantations where West African enslaved people and their descendants worked. UPDATE: Applications of Research in Music Educationīomba: The Sound of Puerto Rico’s African Heritage.
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Professional Development via Music Educators Journal.NAfME Teaching with Primary Sources Curriculum Units for the 2014 Music Standards.Diversity, Equity, Inclusion, and Access in Music Education Resources.
Virtual Learning Resources for Music Educators.NAfME Academy®: Professional Development Webinars.NAfME Online Professional Learning Community Webinars.
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