Bolero Guajiro Dance - Beny More "Como Fue" 🇨🇺




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Published on Jul 12, 2017

Edwin & Dakota of Areito Arts Dancing Bolero in Habana Vieja, Cuba. What a memorable experience. This trip was an educational experience on everything Son, Bolero, Rumba, Orishas and Cuban folklore. We are ready to apply all the knowledge into what we do.

Music: "Como Fue" by Beny More
Dancers: Edwin Ferreras & Dakota Romero


What is Bachata, Bolero and Son?

Those who are serious about learning to dance Bachata should invest in learning and or being around Son and Bolero dancers. Its widely known that Bachata is a direct descendant of the Cuban Bolero and Son. I like to think of Bolero as the mother of Bachata and Son, of course the father. So what is the relationship between the three?

Adapted from iASO.

Bachata the genre has passed through several phases since José Manuel Calderón recorded what is generally recognized as the first bachata single (“Borracho de amor” and “Que será de mi (Condena)”) in 1961. Indeed, long before Calderón, guitar music was the music of choice in the places of ill repute which became home to bachata. The guitar and guitar music like bolero and son were also the staples of the campo, the countryside, and with the death of dictator Rafael Trujillo in 1961 a number of musicians left the campo to record in the capital. The dictator’s family had virtually monopolized the music industry in the country, and when he was killed entrepreneurs began recording the first generation of bachateros. At this point the music was not yet referred to as bachata, but rather as “bolero campesino”. The word bachata originally denoted an informal party where guitar music was generally played—only later did it come to signify the music itself, and then in a denigrating manner.

When Calderón recorded, bachata was essentially a type of bolero, very little different from the Puerto Rican, Ecuadorian, Mexican and Peruvian music that inspired it. In subsequent years, the music began to define itself as a genre which, while still based principally on the bolero rhythm, is easily distinguishable from it. In order to understand these changes it is useful to divide the genre into the following categories, each of which roughly corresponds to a time period

The tempos of bachata’s early period were invariably slow, the words romantic, and the style sentimental. In contrast to later bachata, most bachata-boleros were not original compositions but remakes of classic boleros and valses. This being the case, they naturally didn’t include the Dominican slang and regionalisms that would become a staple in the bachata of later periods. The instrumentation of bachata-bolero was more varied as well; whereas later bachata was played almost exclusively on two guitars, bass, bongo and güira or maracas, bachata-boleros often included wind instruments like clarinet or saxophone, a piano, or violins. Almost all of the earliest bachateros recorded in this style, and some of the best known, aside from Calderón himself, were Fabio Sanabia (Obediencia), Inocencio Cruz, Rafael Encarnación (Muero Contigo) and Luis Segura (Dejame Tomar). Of this group Segura transcended the period and continued to record bolero-bachatas with great success. Later, Leonardo Paniagua would join him as one of the most important interpreters of this style.

When it began, bachata was not stigmatized as the music of poverty and prostitution that it would later be seen as. The earliest bachateros, like Calderón, were simply Dominicans singing a music which was already popular in the country, but mostly imported. As time went on that would change, although bachata-bolero, because of its formal, romantic language and because of the very fact that most of the songs were not original but remakes of already popular pieces, managed to escape some of the criticism which was directed at the music of other bachateros.

  • Category

  • Song

    • Como fué
  • Artist

    • Benny Moré
  • Album

    • De la rumba al chachacha
  • Licensed to YouTube by

    • SME, Label Engine (on behalf of Golden Century Records); Muserk Rights Management, Peermusic, LatinAutor, CMRRA, LatinAutor - PeerMusic, and 6 Music Rights Societies


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