A History of the Conga Drum By Nolan Warden Despite its wide- spread use, the conga drum may be one of the most misunder- stood percussion in- struments. It is all-too-often disre- garded as an “acces- sory,” not worthy of serious consideration. Even though the past decade has brought increased interest in “world” percussion, information about the history of congas re- mains hard to find. Before approaching that history, though, we must consider a few fundamentals. Besides, we haven’t even called this drum by its correct name yet! Photo © CIDMUC, Havana. From book/CD entitled From Afrocuban Music to Salsa by Dr. Olavo Alén Rodriguez (PIRANHA Records, BCD-POIR1258, 1998). PERCUSSIVE NOTES 8 FEBRUARY 2005 THE BASICS considered to be responsible for the musi- refers to the lead part in rumba. Conga In the United States, we hear these cal development of these drums, the refers to the middle or medium-sized drums referred to as conga drums or sim- word tumbadora is used out of respect for drum, and tumbadora refers to the larger ply congas. However, in Cuba, where that setting as opposed to conga, which is drum. Some manufacturers now produce these drums were developed, the word a more commercial term. Today, it’s not requintos (extra small) and/or super- conga is usually only applied to a drum really necessary for English-speaking tumbas (largest). It should not be in- and rhythm played during Carnaval percussionists to call these drums ferred, however, that drums with these (similar to Brazilian Carnaval or Mardi tumbadoras. However, since they are names were ever used together in a tradi- Gras in the U.S.). predominantly called tumbadoras by the tional ensemble. A more accurate term, used in a tradi- culture that created them, this article will tional sense and by most Spanish-speak- refer to them as such. Pronunciation ers, is tumbadora. This term is not It’s also difficult to pin an exact mean- Something else to consider is the pro- traditionally applied to the drums played ing on either of these words, but they are nunciation of these words. Whether you in Carnaval, but for those played in most both generally accepted as being of choose to say conga or tumbadora, it’s traditional and commercial Cuban music. Bantu provenance. The most known best if you pronounce it correctly! Most How these names historically came to be scholar of Afro-Cuban music, Dr English speakers pronounce conga like confused (and essentially interchange- Fernando Ortiz (1881–1969)1, considered “cahnga,” but it is more accurate to pro- able) is a difficult question. Unfortu- the Bantu word nkónga, which means nounce it with Spanish vowel sounds nately, since this confusion began near “navel” or “umbilical,” as a possible root (CONE-gah). Pronunciations such as the beginning of the twentieth century, of the word conga. This seems plausible “koonga” or “kuhnga” creep into certain and since useful scholarly study of Afro- considering the nature of the dances for percussion circles, but these are not Cuban music didn’t appear until about the rhythm la conga, which flow through based on any traditional pronunciation. 30 years later, it is difficult to speak with the streets during Carnaval. They are likely just attempts to make the authority about the history of the two Others maintain that conga is simply a word sound more exotic. words. Presenting all the hypotheses linguistic feminization of the word Tumbadora is also best pronounced would make for tedious reading. For in- Congo, referring to the geographic ori- with Spanish vowels and an accent on depth information on the subject, refer to gins of the drums. As for tumbadora, a the “o” (tumb—like the mummy’s tomb; the works of Fernando Ortiz and Olavo simple Spanish explanation is that it is a—long “a”; dora—like the name Dora Alén Rodríguez. However, I’ll present a the drum “que tumba.” Colloquially, this but with a slightly rolled “r”). somewhat simplified version of this is- means the drum that throws down or So, now that we’re starting to speak sue. lays it down. However, the word tumba is the same language, let’s explore where In the early to mid-1900s, when people also found in Bantu languages. Depend- these drums came from. from the U.S. could still freely travel to ing on the dialect in Africa, it may refer Cuba, Cuban rhythms were picked up to a type of drum, dance, or initiation ORIGINS and popularized by the U.S. media. This ceremony. It also can refer to a party, an The tumbadora is truly a hybrid in- led to many U.S. pop-culture explosions herbalist, or simply be an onomatopoeia.2 strument, the result of many African and of “Latin” styles, one of which was la All of these explanations are possible Cuban influences. Although many conga. Even today, a watered-down ver- but, since such theories are largely based sources only speak about the Bantu (aka sion of the la conga rhythm isn’t hard to on conjecture, it is impossible to say for Congolese) origins of the tumbadoras, find at public gatherings throughout the sure. that is an oversimplification of a more U.S. You might have even participated in complex phenomenon. To get a better a “conga line” at the last wedding you Sizes view, we must consider some precursory went to! To complicate matters further, the ge- cultural and historical events. neric term tumbadora can be dropped in After slavery in Cuba was completely favor of a more specific name based on abolished in 1886, a large number of size or application in an ensemble. For blacks began to move from the planta- example, tumbadoras used in rumba can tions and countryside to urban areas, es- be specifically referred to as salidor and pecially to areas around Havana and A generic version of la conga. tres golpes, depending on the part they Matanzas. Jobs were scarce, though, with play. This is somewhat similar to the way such a huge influx of workers. Lacking This and other pop-culture use mistak- snare drum can mean many different financial means, they began to live on the enly led to the word conga being used to things depending on its size and applica- outskirts of town and group together in refer to all Cuban drums of similar con- tion (e.g., concert snare, piccolo snare, what became known as solares (slums).3 struction. The word tumbadora, which is field drum, etc.). This became the essential backdrop for considered more accurate among Cubans The words quinto, conga, and tumbadora the development of the tumbadoras and and aficionados, comes from the folkloric are now used as a practicality among a percussive music known as rumba. style called rumba (not to be confused performers and retailers to indicate size. And, since the majority of Cuban slaves with ballroom rhumba). Since rumba is Quinto, the smaller drum, traditionally were from Bantu-speaking nations in the PERCUSSIVE NOTES 9 FEBRUARY 2005 Makuta drums may have been reserved The construction of bembé drums var- for use only in closed, secret ceremonies, ied, but many types were almost identi- while the Yuka drums could be heard cal to tumbadoras. In fact, the and used by anyone in the solares. Al- construction that Ortiz considered the though Yuka drumming greatly influ- most common for bembé drums is ex- enced rumba, it is interesting to consider actly like early tumbadoras except that the Makuta drums (especially the slightly smaller. This fact is often over- larger, low-pitched ones) have a greater looked when considering the physical resemblance to tumbadoras. tumbadora’s origins. Lucumí Rumba The drums of the Bantu people prob- The development of rumba is insepa- ably had the strongest influence on the rable from that of the tumbadoras. It was tumbadoras, but they were not alone. the first music to make use of drums spe- The second largest group of Afro-Cu- cifically called tumbadoras and, eventu- bans, whose drums also had an impact ally, led to their use as a popular and on the development of the tumbadoras, serious instrument. Rumba is still popu- The area historically known as the Congo. was the Lucumí. lar today and is played by groups such The word Lucumí (loo-koo-mee) is as Los Muñequitos de Matanzas, Grupo area known as the Congo, it was natural used in Cuba to refer to the descendents AfroCuba, Conjunto Clave y Guaguanco, for their cultures to permeate the solares of the Yoruba people of Nigeria. The and many others, including groups in the of Cuba. Yoruba batá drums, and the Santería cer- U.S. emonies where they are played, are com- It is also interesting to note that before Bantu monly considered the most recognized Some sources speak of Bantu ngoma symbol of Afro-Cuban drums as being the cultural forebears of culture. Batá drums tumbadoras. However, this is not precise. have a strict liturgy First, we must consider that the area his- to this day and torically called “the Congo” is not just were historically one country or group of people. In fact, it played in closed, historically refers to a large area of cen- secret ceremo- tral Africa that includes many Bantu-de- nies. However, rived languages and ethnic groups. there was (and Therefore, when Cuban slaves originat- still is) a less sa- ing from different areas of the Congo cred Lucumí said ngoma, they could have been speak- drum called ing of completely different drums. bembé, which Even today, the word ngoma in Africa likely influ- refers to many different types of drums.