Jorge Santo originates from Buenos Aires, Argentina. He specialises in Afro –Cuban percussion, which involves instruments such as the tumbadoras (conga drums), bongos, timbales (shallow cylindrical single-headed drums, similar to single headed tom-toms), Bata drums (a family of three double- headed tapered cylinders, with a slight hourglass shape) and claves.
A couple of names you may have heard of from the Afro - Cuban genre are Abel Gonzalez who has played with the Afro Cuban All Stars and Jose Luis Quintana ‘Changuito’ from Los Van Van.
Jorge spent five years studying in Havana, Cuba, with some of the most celebrated names in Cuban percussion. He has performed with a number of groups, and in numerous venues across Cuba. A composer and arranger, Jorge is currently living in the U.K where he performs regularly and offers educational workshops in schools and community settings.
As part of his educational work, Jorge has been involved in the Music for Change ‘Music Performance in Education Mentoring Programme’ and has also been teaching with the Bexley Academy of Music and Performing Arts.
Jorge specialises in workshops with children, young people and adults. His workshops introduce participants to the world of Afro – Cuban rhythm and percussion and learn about the patterns and layers that are the foundation, or underlying structure, of Cuban music.
Afro-Cuban Percussion Workshop
An introduction to Cuba through percussion and rhythm. This session includes elements of geography, history and images of Cuba. Jorge gives a general introduction to Cuban percussion instruments, such as the Conga drums, Bongos, Claves, Cow bells and Maracas.
Teachers will gain useful information on using the instruments that can be continued and developed after the artist’s visit. Both English and Spanish language will be used.
History of workshop
Cuban music is a combination of powerful African rhythms and Spanish poetic melody that Cuban born ethnomusicologist Fernando Ortiz termed ‘A love affair between the African drum and the Spanish guitar’.
During the Spanish colonisation of Cuba in the fifteenth century the indigenous populations of Cuba was vastly reduced in number by unfamiliar diseases brought to the island by the Spanish. Many died in slavery, and many committed suicide rather than be under Spanish rule. There became a need therefore for people to work the fields and plantations, and so slaves were brought from West Africa, taking with them traditional African music and rhythms. This music was introduced to the Spanish acoustic guitar, creating a marriage of the two.
Cuban music has for many years been a strong influence in other types of music on a worldwide scale. The rhythms in Cuban popular music, which began to spread the world in the early 20th century, are usually provided by the Cuban percussion section.
The creativity, dynamics and innovation of Cuban music places it on an exciting developmental path – a musical revolution that continues to shake the world!
In Cuba it is usually heard at festivals, carnivals, on the streets and near enough everywhere you go. Cuban songs often deal with themes such as love and relationships, as well as commenting on everyday activities such as eating and farming. They sometimes commemorate historical events, or have social messages, including pro – revolutionary messages.
Content
The objective of each workshop is to create a Cuban percussion ensemble by introducing the participants to the world of rhythm and percussion. Starting off with a warm up, Jorge explains the concept of beat and off beat, using hand clapping. The cultural context of this rhythm will be explained, including some aspect of Cuban society and culture.
Jorge will show how different percussion instruments are introduced into the rhythm, which gradually leads to the over all piece.
The workshop focuses on team work, listening skills, and of course, enjoyment!
Ages/abilities
Year 6 and above
Numbers
15 students per workshop
Maximum of 3 workshops per day
Time needed
Minimum of 90 minutes per workshop.
The option of a whole day focusing on one class (broken down into two groups) would give participants the opportunity to look in-depth at the technical aspect of each percussion instrument, in particular those that need ‘skin to skin’ contact such as the tumbadoras (conga drums) and the bongo drum.
Jorge will teach participants to play the different sounds that the drums can make by simply positioning the hands correctly on the drums. The importance of the cow- bell will also be explained – the cow- bell acts as a centre point, keeping all other instruments in time.
With longer bookings (two days or more) Jorge can also develop relaxation, coordination and concentration skills, improve musical abilities and teach popular rhythms such as Bolero, Chachacha, Mambo, Son and Rumba in an ensemble.
Space needed
A music studio or large cleared space. A semi circle of chairs for participants.
Equipment/facilities to be provided by the school
Percussion instruments will need to be provided by the school. Jorge can provide claves, cow – bells, shakers, maracas and can bring his own set of bongos. If a school doesn’t have congas or bongos, Jorge will show how Cuban rhythms can be performed on other percussion.
School/class preparation for artist's visit
Find the Caribbean on the map, and see where Cuba is located. How many islands can you count?
What is the Capital of Cuba?
What is the population of Cuba?
Research similarities and differences between Cuba and the U.K.
What imports and exports does Cuba have?
Look at the distances from the U.K to West Africa to Cuba – the Triangular Slave Trade route
