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The culture of Cuba is a complex mixture of different, often contradicting, factors and influences. The Cuban people and their customs are based predominately in the European culture, with both African and indigenous American influences.〔, Claudio «(La hispanización del mestizaje cultural en América )» Revista Complutense de Historia de América, Universidad Complutense de Madrid. p. 133 (1981)〕 ==Music== (詳細はFernando Ortíz, the first great Mexican folklorist, described Cuba's musical innovations as arising from the interplay ('transculturation') between African slaves settled on large sugar plantation and Spanish or Canary Islanders who grew tobacco on small farms. The African slaves and their descendants reconstructed large numbers of percussive instruments and corresponding rhythms.〔Ortiz, Fernando 1952. ''Los instrumentos de la musica Afrocubana''. 5 volumes, La Habana.〕 The great instrumental contribution of the Spanish was their guitar, but even more important was the tradition of European musical notation and techniques of musical composition. African beliefs and practices are most certainly an influence in Cuba's music. Polyrhythmic percussion is an inherent part of African life & music, as melody is part of European music. Also, in African tradition, percussion is always joined to song and dance, and to a particular social setting. It is not simply entertainment added to life, it ''is'' life.〔Ortiz, Fernando 1950. ''La Afrocania de la musica folklorica de Cuba''. La Habana, revised ed 1965.〕 The result of the meeting of European and African cultures is that most Cuban popular music is creolized. This creolization of Cuban life has been happening for a long time, and by the 20th century, elements of African belief, music and dance were well integrated into popular and folk forms. The roots of most Afro-Cuban musical forms lie in the cabildos, self-organized social clubs for the African slaves, separate cabildos for separate cultures. The cabildos were formed mainly from four groups: the Yoruba (the Lucumi in Cuba); the Congolese (Palo in Cuba); Dahomey (the Fon or Arará). Other cultures were undoubtedly present, but in smaller numbers, and they did not leave such a distinctive presence. At the same time, African religions were transmitted from generation to generation throughout Cuba, Haiti, other islands and Brazil. These religions, which had a similar but not identical structure, were known as ''Lucumi'' or ''Regla de Ocha'' if they derived from the Yoruba, ''Palo'' from Central Africa, ''Vodú'' from Haiti, and so on. The term ''Santería'' was first introduced to account for the way African spirits were joined to Catholic saints, especially by people who were both baptized and initiated, and so were genuinely members of both groups. By the 20th century, elements of Santería music had appeared in popular and folk forms.〔Sublette, Ned 2004. ''Cuba and its music: from the first drums to the mambo''. Chicago. p171; p258.〕 One of the main rhythmic fusions in Cuban music is the son. Other typical Cuban forms are the habanera, the guaracha, the danzón, the rumba, the bolero, the chachachá, the mambo,the cha-cha-cha, the punto, and many variations on these themes.〔Sublette, Ned 2004. ''Cuba and its music: from the first drums to the mambo''. Chicago.〕 Cuban music has been immensely popular and influential in other countries. It was the original basis of salsa and contributed not only to the development of jazz, but also to Argentinian tango, Ghanaian high-life, West African Afrobeat, and Spanish nuevo flamenco. Within modern Cuba, there are also popular musicians working in the rock and reggaeton idioms. Cuban hip-hop is one of the latest genres of music to be embraced not only by the country's youth but also, more reluctantly, by the government. Initially, hip-hop was shunned by the authorities, because of its affiliation to America and capitalism. As more Cuban youth put their own energy and style into the music, Cuban hip-hop eventually became more acceptable. "The Cuban government now sees rap music – long considered the music of American imperialism – as a road map to the hearts and minds of the young generation"〔Wunderlich, Annelise. 2006. Cuban Hip-hop: making space for new voices of dissent. In ''The vinyl ain't final: hip hop and the globalization of black popular culture'', eds. Dipannita Basu and Sidney J. Lemelle. London; Ann Arbor, Michigan: Pluto Press. p168〕〔Baker, Geoffrey. 2005. ¡Hip hop, Revolución! Nationalizing Rap in Cuba. ''Ethnomusicology'' 49, 3: 368-402〕 is one opinion. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Culture of Cuba」の詳細全文を読む スポンサード リンク
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