The Cuban culture

Cuban Culture and Influences

Cuban culture is sophisticated and frequently influenced by opposing forces. Native Americans, Africans, and Europeans are the main influences on Cuban culture and tradition. In Cuban culture, music has a significant influence on people’s lives and instructs listeners on morality, dress, marriage, and a variety of other topics.

Instruments, Music, and Dances

Most of the instruments and music played in Cuba are of African and European heritage. The dances that are incorporated into Cuban music are either of European or African origin. The song teaches about family issues. Compared to prior decades, when marriage rates were higher, Cuban marriages have stalled and many women have remained single. Divorce rates are increasing in Cuba for the first time. The song is discouraging divorce in marriages and advising people on the importance of the union. The song is also warning people on the long-term effects of divorce and how it affects children’s lives (Vemon 25).

Children, Women’s Rights, and Prostitution

The children brought out of wedlock are mentioned in the song and how these children feel neglected by society. The song talks at length about women’s rights in the community and explains why women’s rights should be improved (Rodriguez 96). Women should not be used as an entertainment instrument and prostitution should be highly discouraged. Tourism should not be linked with women since it encourages prostitution. A dance which involves fast twisting of women’s lower torso section stimulating sexual activity should be discouraged as it demonstrates woman as a sexual object (Peter 223).

Works Cited

Eli Rodríguez, Victoria. “Cuban music and ethnicity: Historical considerations.” Music and Black Ethnicity: The Caribbean and South America (1994): 91-108.

Boggs, Vernon. Salsiology: Afro-Cuban music and the evolution of salsa in New York City. No. 26. Greenwood, 1991.

Manuel, Peter. “Improvisation in Latin Dance Music: History and Style.” In the course of performance: Studies in the world of musical improvisation (1998): 219-236.