Frank Figueroa on Afro-Caribbean percussion instruments

Latin Beat Magazine, Nov, 2002

Another percussion instrument that has endured the test of time and reached us essentially in its original form is the maraca. Although a descendant of the world's ancient family of rattles, the maracas of the Taino Indians of the Caribbean are generally accepted as the prototype of today's version of the instrument. They are usually made from dried, hollow gourds or closed wooden shells in which pebbles, seeds, or any kind of small hard pellets are enclosed. The musician holds them by wooden handles attached to the shells. He shakes them alternatively, agitating the pellets and causing them to strike the sides of the shells that produces a swishing, rustling sound. Today's music groups use a maraca made from leather shells resembling large baseballs, filled with small pellets that produce a deeper sound than the gourd or wooden maracas. For a while, the maracas were hardly used in the conjuntos and orchestras with their sound being replaced by the cáscara sound of the drummer hitting the sides of the metal timbales. Some famous maraqueros, like Machito, reputedly shook empty maracas using them for effect only, but not emitting any sound. In recent years, these rhythmic rattles have experienced a comeback in popularity and it looks like there will be maraca shaking for this millennium.

In most cases, the African new arrivals had to improvise their musical instruments. They ingenuously turned items of everyday use into rhythm and melodic devices. Such was the case with the cajón, a wooden container used to ship dried codfish, which was one of the staples of the Spaniard's diet. They also used smaller wooden boxes in which candles were packed. These containers were made of good, resonant wood. The Africans took the boxes apart, shaved the boards and reassembled them tightly so they would be airtight and more sonorous. The cajón was an excellent substitute for the drum. The musicians produced the sound by beating on the side of the box with their hands and fingers in the same way they beat on the skin of their old drums. A variety of tones were achieved by hitting in different areas of the cajón. The smaller candle boxes produced a higher pitch and took the place of the repicador or quinto drums. The larger cajón provided the sounds of the tumbador. In rumba and conga groups the quinto drums are small and high-pitched. They are used to improvise beats and rhythm flourishes while the tumbador keeps the basic beat. Eventually, the more conventional drums replaced the wooden ones. The cajon has also experienced a revival recently and is available in music stores as highly polished, well-crafted, wooden boxes.

Cuba was the birthplace of the bongó, a single-headed double drum developed by the criollos or descendants of Europeans and Africans born on the island. The instrument consists of two small wooden drums attached to each other on the side. The smaller of the two drums is about six inches in diameter. It is called the macho, or male. The other one is slightly larger, about eight inches in diameter, and is the hembra or female. Originally they were tuned by applying heat to the drumheads. Today, metal tuning lugs are used for this purpose. The bongó player is called bongosero. He plays the instrument while seated and holding the bongós between his knees. He beats these small drums with his fingers or open hand depending on the sound he is trying to produce.