Vallejo Nocturno 2021- Bomba en Loiza
From a three year old article in the NYT on Bomba:
For generations of Afro-Boricua workers and families, bomba has remained central to community, with the drum acting as an instrument of political power, entertainment and spiritual release. Some may even call bomba the soundtrack of Puerto Rican resistance. At this year’s May Day march in San Juan, its lyrics and drumbeats echoed through the crowds airing their opposition to austerity measures, including school closures and university tuition hikes, before police fired pepper spray and tear gas to end the protest.
Bomba’s resilient spirit has become more pronounced in the face of the island’s economic crisis and the devastation caused by Hurricane Maria.
At La Terraza de Bonanza, any given bomba night is bound to be packed with young people. Some dance with exaggerated technique, their faces pinched tight with discipline. Traditionalists flick a fan or a skirt to mark their control over the physical space. Others are more avant-garde and incorporate acrobatic moves, or an arrhythmic dance known as flossing.
These nights began with just a few friends getting together to play drums, said Otura Mun, the frontman of the Afro-Caribbean electronic band ÌFÉ, and grew through social media and word of mouth. Attendance really swelled after Hurricane Maria in September 2017; because Bonanza had a generator still on hand from Hurricane Irma, the no-frills, open-air bar was one of few places in the neighborhood with power. It opened for business just two days after the storm.
The resurgence of bomba owes something to formal experimentation. La Tribu de Abrante, a high-energy, 12-piece fusion orchestra, has blended the sounds of bomba with reggaeton, reggae and hip-hop. The openness to new sounds has helped expand bomba’s audience locally, through live performance and radio, and globally, by associating it with popular genres.
“When I traveled to other countries, people would say reggaeton is the traditional music of Puerto Rico,” recalled Hiram Abrante, the band’s frontman, who is from Loíza. “I’d say, ‘What? It’s bomba.’”
His goal has always been to make bomba more accessible to listeners around the world while maintaining respect for its traditions and history. At the recent Festival del Apio in Barranquitas, Mr. Abrante acknowledged bomba’s heritage by closing La Tribu’s set with a salute to two of San Juan’s oldest bomba families: the Cepedas and the Ayalas.
“With evolution, there is responsibility,” said Victor Emmanuelli, 41, a member of the musical group Bomba Evolución and a historian of the genre. “It’s important for young people to have the fundamentals in order for the genre to evolve.” He started playing bomba at age 8 in Carolina, a town between San Juan and Loíza.
Jerry Ferrao, who played with the Cepedas for 20 years, has noticed that some younger players seem overly concerned with playing fast, favoring the rhythm of the dance over the poetry of the songs.
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