The brotherhood, founded in the sixteenth century by slaves of African origin, is today open to all without distinction of sex or ethnic origin. After Cuba’s abolition of slavery in 1886 and the resulting migration of former slaves to urban areas in search of work, Tumba Francesa societies emerged in several cities. It embodies one of the oldest and most tangible links to the Afro-Haitian heritage of Cuba’s Oriente province and developed from an eighteenth- century fusion of music from Dahomey in West Africa and traditional French dances. The dance, song and drumming style known as Tumba Francesa (French Drum) was brought to Cuba by Haitian slaves who were resettled in the island’s eastern regions following the unrest in Haiti during the 1790s. The distinctive drumming that accompanies dances and songs gave the tradition its name, Tumba Francesa, the French Drum. Slaves from Haiti brought the Tumba Francesa tradition to Cuba’s Oriente province in the eighteenth century, merging West African traditions with French dances and Spanish influences. Originally pejorative, the term “Cocolo”, which refers to the migrants working on the British sugar plantation of the island, is now used proudly. Their most distinctive expressions, however, were annual dancing drama performances. This linguistically and culturally distinct community set up their own churches, schools, benevolent societies and mutual assistance lodges. The Cocolo dancing drama tradition developed among descendants of British Caribbean slaves who had come to the Dominican Republic in the mid-nineteenth century to work in the sugar fields.
This music is performed principally during four rituals: Arrullo, Currulao, Chigualo and Alabao. Chanting by women and men (cantadoras and chureadores) blends with acoustic instruments, handcrafted using local materials: palm-wood Marimbas, wooden and leather bass and hand drums, and bamboo and seed rattles. Marimba music and traditional chants of Colombia’s South Pacific region are the heritage of Afro-Colombian groups in the departments of Valle del Cauca, Cauca and Nariño. Even in the religious sense it is combined to manifest the phrase ‘servant of God‘, to present an absolute devotion and dedication.Marimba music and traditional chants from Colombia’s South Pacific region (2010) Servitude, on the other hand, is appreciated in the Latin servitūdo, which eventually, would be adopted to refer to people who perform domestic chores within a residence. From the development of feudalism, the servant took on certain titles, however this would work as a way to preserve the submission and deprivation of freedom in a politically correct way, even establishing the idea that they worked for the land, to hide and protect the employer. On the other hand, there is a correlation reflected by the Latin term servis, interpreted as a ‘servant’, used by the upper class of ancient Rome, describing slaves as property giving up their rights and belonging to their respective master and lord. The classification and stigma of slavery is referred to in medieval Latin as sclavus, in relation to the Byzantine Greek sklábos, being a derivation of sklabēnós, which translates as ‘Slavic’, originally as a self-reference for the Slavic people, as slovĕninŭ, who were geographically located mostly in Eastern Europe, and who suffered the abuse of the Spanish Muslim community in the ninth century.
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