The Dance

The performed dance elements of the Cuban rumba complex share a common history and basic formal elements, but sometimes differ in marked ways that are discussed below. Customary elements of the dance is reflected in the patterned movements and gestures characteristic of the rumba, including the ways gender roles are enacted, while material elements include the costumes and props worn by the rumberos (Daniel 1991; Sims and Stephens 2011).

Just as the the rumba's beat finds its roots in African heritage, so too do the movements and gestures performed by dancers. When dancing the rumba, the speed of the rumberos' movements is dictated by the tempo and rhythm of the percussion instruments, most often set by a pair of claves (Daniel 1991). Western and Central African influences can be seen most clearly, perhaps, in the patterns of "inclined and flexed postures" and the "emphasis on torso-generated movement and isolation of body parts" (ibid., 2). As in both Spanish and African traditional performative dance forms, improvisation is an important component of rumba dance. (ibid.). 

Despite sharing these common roots and basic patterns of movement, the three types of rumba (yambú, guaguancó, and columbia) differ in important formal customary elements. Within both the yambú and guaguancó types, the rumba is performed by a pair of dancers: one man and one woman. The pair performs an improvised "chase" in which the man attempts to woo and seduce the woman. The woman, in turn, appears to be wary of her male partner, avoiding him in a way that appears simultaneously provocative and cautious. Where her movements are undulating and smooth, his are faster paced and his body displays sharper angles in which angled knees and elbows feature prominently (Daniel 1991). One of the major differences between yambú and guaguancó dancing is the speed at which the dance is performed; guaguancó is performed with faster, jerkier movements that must keep up with the quick tempo of the claves (Daniel 1991; Manual 1994). Notice the "chase" as it is performed by the guaguancó rumba dancers in the video below.

Video: Guaguancó rumba dancers (3:06)

There is little to no touching between partners during performance of the yambú and guaguancó rumba types, although partners may simulate hand-holding by gripping opposite ends of a scarf. Occasionally, the man may briefly place his hand on the woman's waist. Within guaguancó rumba, the idea of the "chase" is expanded  and the goal becomes the vacunoa, or "vaccination," likened to a rooster stalking a hen. The sexual undertones of this type of rumba are particularly noticeable in its performance. While the man may thrust his pelvis, the woman may use her skirts or a handkerchief to "protect" her genital area (Daniel 1991). At the end of a successful performance the man achieves vacanoa. However, "sometimes older women challenge the men by opening their arms above their heads, backing into them, [and] interrupting their path," thereby preventing the man's success. The musicians may stop playing at that time, ending the performance. "On these occasions, men typically express indignation," but by avoiding vacanoa, a woman may assert control over the outcome of the dance (Daniel 1991, 5).

Photo source: El Español

In contrast to the yambú and guaguancó types of rumba, which are linked to urban performance, the columbia type is associated with rural life and jíbaros (peasants). Columbia rumba is performed by soloist men who compete with one another, the goal in this case not being to woo or "vaccinate," but to earn the label of best rumbero. Recently, women have begun to dance the columbia rumba, although traditionally it was reserved for men only (Daniel 1991). The video below shows columbia rumba being performed for a competition in Canada.

Regardless of the type being performed, the Cuban rumba reveals the deep gender divide within Cuban society. Male dominance underlies the "stories" told by traditional rumba performances. Dance researcher Yvonne Daniel (1991, 5) explains,

The image produced by yambú and guaguancó rumba is, therefore, that of the ideal Cuban male conquering the weaker woman.

The traditionally male-only columbia rumba reveals more than cultural ideals; it points to historical gender disproportion within rural areas of Cuba, where male jíbaros outnumbered women while still maintaining social dominance. Daniel (1991) points out that these performances resemble dances performed within male-only secret societies. The recent inclusion of women in columbia rumba dance competitions marks a major step away from traditional gender roles (ibid.)

The Cuban rumba is performed within both casual and more formal contexts and the clothing worn during performance, as well as the type of props used, generally reflects the nature of each occasion. Casual street clothes may be worn en la calle ("in the street"), while Spanish- or African-inspired costumes may be adorned for official performances. Handkerchiefs are scarves are frequently used as props to simulate hand-holding or as "shields" used by women to protect their genital area (Bodenheimer 2013; Daniel 1991).

In the slideshow below, a range of outfits and costumes are represented, ranging from traditional African- and Spanish-inspired costumes to to casual street clothes.

Photo sources, ordered from first to last: University of Washington, Your Face Here, Ritmo Bello, Barcelona Guide Bureau, kwekudee, kwekudee

Next: Los Rumberos