European Tour Update!

The famous Cuban group Yoruba Andabo Company, artistic leader in the  culture of African origin, began it’s European Tour Fall, which will run for several cities in the Old Continent.

This promotional effort is a collaboration between Fiebre Latina, Topoly International and LMA Productions.


La célebre Compañía Yoruba Andabo, agrupación artística líder de la cultura cubana de origen africano, dio inicio a su Tour Europeo de Otoño, que se extenderá por varias ciudades del llamado Viejo Continente.


Este empeño promocional es una colaboración entre Fiebre Latina, Topoly Internacional y LMA Producciones.



11/20 Orisha Dance Chicago (Afro-Cuban dance and music) – World Fusion Chicago

Orisha Dance Chicago at Global Dance Party at Old Town School of Folk Music
An exhilarating night of Afro-Cuban dance and music! Founded in 2010, by Victor Alexander Director of a Ruth Page School of Dance and Daniel Lopez, Orisha Dance Chicago is committed to promoting Cuban dance and music throughout the Greater Chicago community.

via 11/20 Orisha Dance Chicago (Afro-Cuban dance and music) – World Fusion Chicago



A Young Iyalorisa Tells Us The Role Of Dance and Song In Yoruba Spirituality – theyoruba

A Young Iyalorisa Tells Us The Role Of Dance And Song In Yoruba Spirituality
Yoruba Religion – May 5, 20160

My name is Egbelade Omitonade Ifawemimo. I practice African Traditional Religion, Yemoja worshipper. I am Yemoja priestess which also versed in Ifa, Researcher, Theologian. I am a graduate of Obafemi Awolowo University where I studied Economics Education, Ile Ife, Osun State. I am from Ibadan, Oyo State, Nigeria.

In Yoruba culture, songs and dance have so much importance to religious worship and spirituality. All Orisas holds particular importance in dance and songs. And Worship in African Traditional Religion take the form of rites and ceremonies and include prostrating, praying, invoking, and making offerings. Sounding the bell or gong, singing, drumming, and dancing as occasion demands. Song and dance come up under liturgy. Liturgy therefore, is an important element of worship in African Traditional Religion.

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In Orisa Worship, the presence of dance as a way of reenacting spirituality and songs as a way of reverence to the power of Olodumare and Orisas are essential to the worship of Orisas. Each Orisa is identified with drum ensemble, songs and dance styles. Also, every Orisa has unique dance movement that reflects its attributes as we have different drums for each Orisa. That is, the musical instruments used for each Orisa is different. The musical instrument for Sango and Yemoja is bata, Ifa is for Agogo and other Orisas is Dundun.

via A Young Iyalorisa Tells Us The Role Of Dance and Song In Yoruba Spirituality – theyoruba

The Yoruba day of the week dedicated to money and profit – theyoruba

via The Yoruba day of the week dedicated to money and profit – theyoruba.


The Yoruba Day Of The Week Dedicated To Money And Profit

The traditional Yoruba week has four  days  dedicated to the Orisa in the following order:

  • Day 1 is dedicated to Obatala
  • Day 2 is dedicated to Orunmila
  • Day 3 is dedicated to Ogun
  • Day 4 is dedicated to Sango

However, to be streamlined with the Gregorian calendar, Yoruba people also have a 7 day week which is for trade and business matters

The seven  Yoruba business days  of the week are:

  • Ojo-Aiku (Sunday),
  • Ojo-Aje (Monday),
  • Ojo-Ishegun (Tuesday),
  • Ojo-Riru (Wednesday),
  • Ojo-Bo (Thursday),
  • Ojo-Eti (Friday)
  • Ojo-Abameta (Saturday).

Yoruba Beliefs About Monday

Ojo Aje (Monday): This is the day on which money joined Orisa on earth and is known as the day of money. Yoruba people use this day to start business, and to discuss economic and financial programs.

Araba Elebuibon, Origin of Days

Meet a Babalawo

Source: Meet a Babalawo

We don’t remember medicine until we are ill.  It’s the same with our  Yoruba medicine , many  don’t remember traditional medicine until Western medicine fails them.  To be fair, there are just as many or maybe even more for whom native medicine is the first port of call for the simple reason that they cannot afford the cost of  Western medical care . But where there are means, the leaning is more towards Western medicine, until of course a problem is encountered that defies orthodox science.

Reasons why people use/don’t use traditional medicine vary,  experiences vary. So many have only praises and some have regrets on using Yoruba herbal science. Why the variations?  There’s  no published  directory of herbal practitioners, or widely acknowledged certification , so that there is  no way of ascertaining the qualifications of a practitioner before you decide to place yourself in their care. In the days gone by, presumably word of mouth recommendation was all the certification required, and that’s at the root of the problem experienced by  people who would  use Yoruba herbal practitioners today. Just how many people who do use traditional medicine will own up to the fact? How do you get a recommendation when visits to Babalawo are seen by the educateratti as hush-hush.



Rumba; the ultimate expression of the Afro-Cuban way of life (Courtesy of and by Baila Society)

Cuban Rumba

History/Culture courtesy of and by “Baila Society”

In Cuba, Rumba is a generic term covering a variety of musical rhythms and associated dances. The rumba has its influences in the music brought to Cuba by Spanish colonizers as well as Africans brought to Cuba as slaves. Rumba is more than a music and dance genre; it is the collective expression of the Creole nature of the island itself. Rumba is a secular genre of Congolese African and Spanish flamenco influences, and is one of the primary ancestors of popular music in Cuba.

Los Muñequitos de Matanzas
Map of Cuba

Rumba developed in the Cuban provinces of Havana and Matanzas (one hour east of Havana) in the late 19th century, as a blending of Congolese-derived drumming styles and Spanish flamenco-singing influences. As a sexually charged Afro-Cuban dance, Rumba was often suppressed and restricted because it was viewed as dangerous and lewd.

Afro-Cuban rumba is entirely different than ballroom rumba, or the African style of pop music called rumba. Rumba developed in rural Cuba, and is still danced in Havana, Mantanzas and other Cuban cities as well as rural areas, especially those with a significant or predominant black community, although now it is infused with influences from jazz and hip hop.

A Cuban Rumba song often begins with the soloist singing meaningless syllables, which is called ‘diana(s)’. He then may proceed to improvise lyrics stating the reason for holding the present Rumba (‘decimar’; span.: to make ten-line stanzas), or instead tunes into a more or less fixed song such as: “Ave Maria Morena” (Yambú, Anónimo), “Llora Como Lloré” (Guaguancó, S. Ramirez), “Cuba Linda, Cuba Hermosa” (Guaguancó, R.Deza), “China de Oro (Laye Laye)” (Columbia), “Malanga (Murió)” (Columbia)”.

There are three main styles of Cuban rumba: the yambú (the oldest style dating back to the colonial period), the guaguancó (the most popular of the three) and the columbia (the most African-flavored, and also the fastest).

Rumba Performance
Rumba Performance



Yambú is the oldest and slowest known style of rumba, sometimes called the Old People’s Rumba. As the oldest style, yambú was first played on wooden box drums called cajones (as African-derived drums were feared and often banned), the Cuban claves (simple wooden sticks that are probably one of the most important instruments in the island’s history) and a metal shaker called the maruga. In addition, cucharas (spoons) were sometimes added, playing a counter rhythm to the claves. This counter rhythm would eventually be played by palitos (sticks) on a guagua (horizontal piece of bamboo on a stand).

It uses the slowest beat of the three Rumba styles and incorporates movements feigning frailty. It can be danced alone (especially by women) or by men and women together. Although male dancers may flirt with female dancers during the dance, they do not use the vacunao of Rumba Guaguancó. The yambú dance is slow and graceful, danced by male-female couples who combine Spanish and African movements in a courtship-style partnership.

Rumba Guaguancó is faster than yambú, with more complex rhythms, and involves overtly flirtatious movements between a man and a woman in the roles of “Rooster” and “Hen”. The guaguancó style emerged later as a faster tempo form, and was (and still is) played on tumbadoras (conga drums), along with the claves, the palitos and the maruga. The conga drums are modeled after the Congolese yuka drums, direct descendents of the African ngomas, and would go on to be the most commonly used hand drums in all of Latin music. There are three main sizes (or widths) of tumbadoras: the tumba (bass), the segundo or tresdos (middle) and the quinto (highest, which is the lead drum), and each drum is tuned to a distinct pitch. (At first, tuning took place with heat as the skins were nailed on, but later, metal tuning hardware developed.)

The woman both entices and “protects herself” from the man, who tries to catch the woman off-guard with a vacunao — tagging her with the flip of a handkerchief or by throwing his arm, leg or pelvis in her direction in an act of symbolic sexual contact. To defend herself, she may cover with her hand, or use her skirt to protect her pelvis and whip the sexual energy away from her body. Guaguancó most likely inherited the idea of the ‘vacunao’ from yuca or macuta dances, which were both brought to Cuba by Bantú ethnic groups. This rooster-hen dynamic is a feature of many African dances found throughout the Caribbean and Latin America, and in many places was frowned-upon (or even banned).

(Note: In our CTV routine, we have a “vacunao” moment with the girl protecting herself)



Rumba Columbia (not “Colombia”) is a fast and energetic Rumba, with a 6/8 feel, which is often accompanied by a 6/8 (Spanish ‘seis por ocho’) beat struck on a hoe or a bell. It is assumed that the Columbia originated in hamlets in the interior of Cuba rather than the suburbs of the larger cities from where other types of Cuban Rumba stem.

The Columbia is primarily a male-only demonstrative dance, with a more uptempo and complex rhythm that incorporates some of the Congolese ritual music aspects as well as the Bantú languages, still widely used in folkloric as well as popular music. It too is played on tumbadoras and the other noted percussion instruments, and also adds a bell that plays a complex 12/8-meter pattern on top of the 4/4-meter structure. Solo, traditionally male, dancers provoke the drummers, especially the player of the smallest drum (Quinto, here also soloist drum), to play complex rhythms that they imitate through their creative and sometimes acrobatic movements. Men may also compete with other men to display their agility, strength, confidence and even sense of humor. Columbia incorporates many movements derived from Congo dances as well as Spanish flamenco, and more recently dancers have incorporated breakdancing and hip hop moves. While only men typically dance columbia, there were (and are) famous women who stood out such as Andrea Baró, who is often the subject of columbia songs.

The structure of rumba songs has remained virtually the same since it first began. In the yambú and guaguancó styles, the claves begin the song, establishing the tempo with the distinct, five-note pattern (which is the heartbeat of most Cuban music as well as salsa). The remaining percussion instruments enter in layered fashion, and begin their repetitive patterns. The lead singer then sets the key with a series of scat-like vocalizations called the diana, followed by the verses of the song. The lead vocalist then initiates the call-and-response section and is responded to by the chorus while he/she improvises in between, and it is at this time that the dancing begins.

Los Muñequitos de Matanzas
Oyelos De Nuevo
Los Muñequitos de Matanzas

Almost the same structure holds true for the columbia, the difference being that many songs begin with the cowbell (and the claves are not always included), and columbia dancers dance solo instead of in couples. Traditional rumbas began to be recorded in Cuba much later after their emergence (around the 1950s), and the seminal group Los Muñequitos de Matanzas is one of the most significant folklore ensembles to take the genre around the world. In the past several decades there have been variations to the styles, instrumentation and dance, but despite its evolution, rumba continues as the ultimate expression of the Afro-Cuban way of life for all generations on (and off) the island.

According to Cuban percussionist, singer, composer and historian Gregorio ‘el Goyo’ Hernandez, who became widely accepted as a specialist in Cuban Rumba after his album “La Rumba Es Cubana: Su Historia” (2004, Unicornio No. 6004), Cuban Rumba Columbia has its origins in the drum patterns and chants of religious Cuban Abakuá traditions. Fact is that the ‘cáscara’ or ‘palito’ rhythm of Columbia, either beaten with two sticks on a piece of bamboo or on the rim of the congas, is the same as the one played in Abakuá chants, which is played with two small plaited rattles (‘erikundi’) filled with beans or similar objects. The drum patterns of the lowest conga drum is essentially the same in both Columbia and Abakuá as well.




Sources: Wikipedia; National Geographic; World Music; Afropop; Global Rhythm; Smithsonian Global Sound; IFE-ILE;

Books: Cuba and its Music: From the First Drums to the Mambo; Ned Sublette; Chicago Review Press, 2004

Bolding added by BAILA Society

Earth, Wind and Fire to perform for 1st time in Cuba! Courtesy of and by “Fox News Latino”

Yoruba Andabo is proud to be part of the third Havana World Music festival. Rumbatime!

Courtesy of  and by Fox News Latino

Fox News Latino - Fair & Balanced

Published November 25, 2015 EFE

The iconic funk rhythm band Earth, Wind & Fire will perform for the first time in Cuba during the third edition of the Havana World Music festival, organizers of the March 2016 event confirmed on Wednesday to EFE.

The U.S. band is scheduled to perform numbers from its most recent album “EW & Experience,” although additional details of their show remain to be specified.

Earth, Wind & Fire will head the list of bands at the third Havana World Music festival, which will also include the Mexican band Centavrvs, nominated for a Latin Grammy; Ellas, a trio of mariachis from Los Angeles; Spaniards Jorge Pardo and Lin Cortes, and Carolina Camacho from the Dominican Republic.

So far, the host country’s performers will include salsa band Havana D’ Primera, singer-songwriter Kelvis Ochoa, the Yoruba Andabo folk group and jazz newcomers Yissy & Bandancha, among others.

Havana World Music was launched in 2014 by Eme Alfonso as a result of his experience in a project to investigate the island’s ethnic-cultural origins.

According to the artist, the aim of the festival is to suggest to the young Cuban public “new sounds coming from different cultural areas,” which make the event a forum for disseminating alternative musical styles outside normal commercial routes.

Back in Havana, as the man says “Chilling!” Thank you Caracas!

#YoSoy YorubaAndabo #YoSoyCuripaya #YoSoyCubano

#YoSoy YorubaAndabo #YoSoyCuripaya #YoSoyCubano

We went to Caracas, renewed and made new friendships, chanted and performed for our fans and supporters! The proof….!!!

A great big thank you to our fans and supporters who made this possible!


YORUBA ANDABO arrived in Caracas! YORUBA ANDABO llegó a Caracas!

Eventos PosterYorubaAndabo_PBEventos alba_cultural_americabanne-todos1

YORUBA ANDABO llegó a  Caracas (6 al 8 de noviembre)


Viernes 6/ VENETUR/Salón Anauco

Sábado 7/VENETUR/Salón Bicentenario

Domingo 8 /Teatro La Caridad

Producción PB Eventos/ Fondo Cultural del ALBA

YORUBA ANDABO arrived in Caracas (6 to 8 November)

Friday 6 / VENETUR / Lounge Anauco

Saturday 7 / VENETUR / Lounge Bicentennial

Sunday 8 / Teatro La Caridad

Production Events PB / ALBA Cultural Fund




Salón Anauco/VENETUR

Viernes 6 de noviembre, 10pm

Producción Fiver Star y PB Eventos



Hall Anauco / VENETUR

Friday, November 6, 10pm

Fiver Star and PB Eventos Productions




Salón Bicentenario/VENETUR

Sábado 7 de noviembre, 6pm

Producción PB Eventos


Afro-Cuban music and dance

Bicentennial Hall / VENETUR

Saturday, November 7, 6pm

PB Eventos Productions




Teatro Alameda

Domingo 3pm

Producción PB Eventos


Afro-Cuban music and dance

Alameda Theatre

Sunday 3pm

PB Eventos Productions




Teatro Alameda

Domingo 8pm

Producción PB Eventos



Alameda Theatre

Sunday 8pm

PB Eventos Productions



Final Avenida Lecuona.  Complejo Parque Central. Edificio Anauco.  Caracas 1010-A

Telf +58 212 573 4111

Comercial +58 212 573 7724


Final Avenida Lecuona. Central Park complex. Anauco building. Caracas 1010-A

Tel +58 212 573 4111

Commercial +58 212 573 7724