Time signature: 4/4
Measures per minute (MPM): 23-25 (may vary)
Traditional measures per minute (MPM): 27-28
Beats per minute (BPM): 92-100 (may vary)
Traditional beats per minute (BPM): 120
Year: Late 19th century
In the late 1950's, popular artists such as Peret (El Rey de la Rumba) and El Pescaílla developed an up-tempo style that combined elements from the Rumba Flamenca, Spanish gypsy music, and pop. This became known as Catalan Rumba (Rumba Catalana). In the 1980's, the style gained international popularity thanks to French ensemble Gipsy Kings.
In the 1990's, the term "Tecno-Rumba" was used to describe the music of Camela, and later Azúcar Moreno. Since the early 2000's, the term "Rumba" has been used in Spain to refer to derivatives of Catalan Rumba with hip-hop and rock elements, as recorded by Estopa, Huecco and Melendi.Bambuco and Afro-Cuban music was developed in Colombia by artists such as Emilio Sierra, Milciades Garavito, and Diógenes Chaves Pinzón, under the name Rumba Criolla (Creole Rumba). Rumba Criolla is classified into different regional styles such as Rumba Antioqueña and Rumba Tolimense. Son groups such as Septeto Habanero, Trio Matamoros and Los Guaracheros de Oriente were played over Radio Congo Belge in Léopoldville (Kinshasa), gaining widespread popularity in the country during the following decades. Once local bands tried to emulate the sound of Cuban Son (incorrectly referred to as "Rumba" in Africa, despite being unrelated to the Cuban Rumba), their music became known as "Soukous", a derivative of the French word "secouer" (meaning "to shake"), or "Congolese Rumba". By the late 1960's, Soukous was an established genre in most of Central Africa. It would also impact the music of Western and Eastern Africa. Franco's OK Jazz and Le Grand Kallé's African Jazz were among the most successful Soukous ensembles of the 20th century. Ballroom music with Afro-Cuban music rhythms. Although the correct spelling of this dance is "R-U-M-B-A", many wanted to distinguish the difference between the Ballroom Rumba and the Cuban Rumba. However, the competitive Dancesport world today uses the original "R-U-M-B-A" spelling.
This music was mostly inspired by Son Cubano, while being rhythmically and instrumentally unrelated to Cuban Rumba. By the 1930's, the genre had become highly-successful and well-defined. The Rumba that was developed in the East Coast of the United States was based on the Bolero-Son.
The first Rumba competition took place in the Savoy Ballroom in 1930.
During the 1940's and 1950's, the Mexican and American film industry expanded the cultural appropriation of the term Rumba as Rumbera films became popular. In this context, Rumberas were Cuban and Mexican divas, singers and actresses that sung Boleros and Canciones, and rarely Rumbas.
In the 1970's, with the emergence of Salsa as a popular music style and dance genre in the USA, rhythmic elements of Cuban Rumba (particularly Guaguancó) became prevalent alongside the Son Cubano. Like Salsa, Rumba would then be danced to Salsa ensembles instead of big bands. By the end of the 20th century, Rumba was also danced to pop music and jazz bands as seen on TV shows like Dancing with the Stars.Ballroom music can be traced back to May of 1930, when Don Azpiazú and his Havana Casino Orchestra recorded their song "El manisero" (The Peanut Vendor) in New York. This single became a hit, becoming the first Latin song to sell 1 million copies in the United States. The song attempted to adapt the Son Cubano to the style of Ballroom music prevalent at the time in the East Coast.
Soon, Azpiazú's style was followed by other Cuban artists such as Armando Oréfiche and the Lecuona Cuban Boys, which had extensive international tours in the 1930's. Their style has been often described as "Ballroom Conga", since they used to borrow Conga rhythms in songs such as "Para Vigo me voy". This music movement, which also included many American big bands which covered Latin standards, was dubbed the "Rumba craze". Notable bandleaders of the "Rumba craze" include Xavier Cugat, Jimmy Dorsey, Nathaniel Shilkret, Leo Reisman and Enric Madriguera. Rumba was also incorporated into classical music as exemplified by symphonic pieces by composers such as George Gershwin, Harl McDonald and Morton Gould.
The kind of Rumba introduced into dance salons in America and Europe in the 1930's was characterized by variable tempo, sometimes nearly twice as fast as the modern Ballroom Rumba, which was developed as a dance in the 1940's and 1950's, when the original music movement had died down. Nonetheless, the "Rumba craze" would be the first of three Latin music crazes in the first half of the 20th century, together with the "mambo craze" and the "cha-cha craze"American Style Rumba was imported to America by band directors like Emil Coleman and Don Aspiazú between 1913 and 1935. The film Rumba, released in 1935, brought the style to the attention of the general public. American Style Rumba is taught in a box step, known for its slow-quick-quick pattern danced on the 1, 3, and 4 beats of 4-beat music. International Style Rumba was developed in Europe by Monsieur Pierre after he compared the established American Style with contemporary Cuban dancers. International Style is taught in a quick-quick-slow pattern danced on the 2, 3, and 4 beats of 4 beat music, similar in step and motion to the Cha-Cha. Both styles were canonized in 1955. Ballroom dances which occurs in Social Dancing and in international competitions. It is the slowest of the five competitive International Latin dances: the Paso Doble, the Samba, the Cha-Cha and the Jive being the others. This Ballroom Rumba was derived from a Cuban rhythm and dance called the Bolero-Son; the International Style was derived from studies of dance in Cuba in the pre-revolutionary period.
The modern International Latin dancing of the Rumba derives from studies made by dance teacher Monsieur Pierre (Pierre Zurcher-Margolle), who partnered Doris Lavelle. Pierre, then from London, visited Cuba in 1947, 1951 and 1953 to find out how and what Cubans were dancing at the time.
All social dances in Cuba involve a hip-sway over the standing leg and, though this is scarcely noticeable in fast Salsa, it is more pronounced in the slow Ballroom dances Rumba. In general, steps are kept compact and the dance is danced generally without any rise and fall. This style is authentic, as is the use of free arms in various figures. The basic figures derive from dance moves observed in Havana in the pre-revolutionary period, and have developed their own life since then. Competition figures are often complex, and this is where competitive dancing separates from social dances.American Style Rumba is commonly danced in the United States, with box-like basic figures.