Rhumba

Rhumba, also known as ballroom rumba, is a genre of ballroom music and dance that appeared in the East Coast of the United States during the 1930s. It combined American big band music with Afro-Cuban rhythms, primarily the son cubano, but also conga and rumba. Taking its name from the latter, ballroom rumba differs completely from Cuban rumba both in its music and dance. Hence, authors prefer the Americanized spelling of the word (rhumba) to distinguish between them.

Music

Although the term rhumba began to be used by American record companies to label all kinds of Latin music between 1913 and 1915, the history of rhumba as a specific form of ballroom music can be traced back to May 1930, when Don Azpiazú and his Havana Casino Orchestra recorded their song "El manisero" (The Peanut Vendor) in New York. This single, released by four months later by Victor, became a hit, becoming the first Latin song to sell 1 million copies in the United States. The song, composed by Moisés Simons, is a on-pregón arranged, in this case, for Azpiazú's big band featuring 3 saxophones, 2 cornets, banjo, guitar, piano, violin, bass, and trap drums. With vocals by Antonio Machín and a trumpet solo (the first one in the recorded history of Cuban music) by Remberto Lara, the recording (arranged by saxophonist Alfredo Brito) attempted to adapt the Cuban son to the style of ballroom music prevalent at the time in the East Coast.

Rumba

The term rumba may refer to a variety of unrelated music styles. Originally, the term rumba was used as a synonym for "party" in northern Cuba, and by the late 19th century it was used to denote the complex of secular music styles known as Cuban rumba. Since the early 20th century the term has been used in different countries to refer to distinct styles of music and dance, most of which are only tangentially related to the original Cuban rumba, if at all.

In Cuba

During the second half of the 19th century, several secular dance-oriented music styles were developed by Afro-Cuban workers in the poor neighbourhoods of Havana and Matanzas. These syncretic styles would later be referred to as "rumba", a word that also meant "party". Traditionally, the three main styles of rumba are yambú, columbia and guaguancó, each of which has a characteristic dance, rhythm and singing. Although still a purely folkloric genre, numerous innovations have been introduced in rumba since the mid 20th century, including new styles such as batá-rumba and guarapachangueo.

Rumba (1935 film)

Rumba is a 1935 musical drama film starring George Raft as a Cuban dancer and Carole Lombard as a Manhattan socialite. The movie was directed by Marion Gering and is considered an unsuccessful follow-up to Raft and Lombard's smash hit Bolero the previous year.

Plot

Famed dance team, Veloz and Yolanda were uncredited choreographers for this film, while the signature rumba danced near the end by Raft and Lombard seems to be a simplified variation of rumba performed by Veloz and Yolanda themselves the year before in another Paramount film starring George Burns and Gracie Allen, "Many Happy Returns."

Cast

Rumba (disambiguation)

Rumba may refer to:

Dance and music

Genres

Instruments

Songs

Albums

Film

People

Ballroom

A ballroom is a large room inside a building, the designated purpose of which is holding large formal parties called balls. Traditionally, most balls were held in private residences; many mansions contain one or more ballrooms. In other large houses, a large room such as the main drawing room, long gallery, or hall may double as a ballroom, but a good ballroom should have the right type of flooring, such as hardwood flooring or stone flooring (usually marble).

Ballrooms are generally quite large, and may have ceilings higher than other rooms in the same building. The large amount of space for dancing, as well as the highly formal tone of events have given rise to ballroom dancing. The largest balls are now nearly always held in public buildings, and many hotels have a ballroom. They are also designed large to help the sound of orchestras carry well throughout the whole room.

A special case is the annual Vienna Opera Ball, where, just for one night, the auditorium of the Vienna State Opera is turned into a large ballroom. On the eve of the event, the rows of seats are removed from the stalls, and a new floor, level with the stage, is built.

Ballroom dance

Ballroom dance is a set of partner dances, which are enjoyed both socially and competitively around the world. Because of its performance and entertainment aspects, ballroom dance is also widely enjoyed on stage, film, and television.

Ballroom dance may refer, at its widest definition, to almost any type of partner dancing as recreation. However, with the emergence of dancesport in modern times, the term has become narrower in scope, and traditionally refers to the five International Standard and five International Latin style dances (see dance categories below). The two styles, while differing in technique, rhythm and costumes, exemplify core elements of ballroom dancing such as control and cohesiveness. Developed in England, the two styles are now regulated by the World Dance Council (WDC) and the world dancesport federation. (Wdsf). In the United States, two additional variations are popular: American Smooth and American Rhythm, which combine elements of both traditional Latin and Ballroom dances.

Ballroom (musical)

Ballroom is a musical with a book by Jerome Kass and music by Billy Goldenberg and lyrics by Alan and Marilyn Bergman.

Based on Kass's teleplay for the 1975 Emmy Award-winning television drama Queen of the Stardust Ballroom, the plot focuses on lonely widow Bea Asher, who becomes romantically involved with Alfred Rossi, a mail carrier she meets at the local dance hall. Her dream of a happily-ever-after relationship is shattered when she discovers Alfred hasn't been as honest about his personal life as she thought.

After eleven previews, the Broadway production, directed and choreographed by Michael Bennett, opened on December 14, 1978 at the Majestic Theatre, where it ran for 116 performances. The cast included Dorothy Loudon as Bea and Vincent Gardenia as Alfred. The sets were by Robin Wagner, and Theoni V. Aldredge designed the costumes.

The production was Bennett's first project following A Chorus Line three years earlier.

Song list