The history of congas:


The conga or tumbadora originated as a musical instrument in Cuba as part and parcel of the rumba, yet the instrument is nowhere found in the early days of this important Cuban musical genre.

The word rumba was used originally in Cuban music as a synonym for fiesta. To “make a rumba” was to throw a party, however this usage was limited solely to certain segments of the nineteenth century Cuban populace, for in Cuba many expressions were used as synonyms for party. Farmers in the island’s eastern region called their parties changüí, whereas farmers in the central and eastern areas called them guateques. Many ethnic groups of the complex that nurtured Afro-Cuban music called their parties tumbas. For this purpose other expressions were adopted too, such as: bembé, macumbas, mambos and, of course, rumbas.

In 1886 Cuba utterly abolished slavery and the slave trade. Thus about a quarter of a million individuals obtained their freedom. However this did little for their economic situation. These people couldn’t remain in the country because they weren’t the owners of the land. But it was also difficult for them, owing to the scarcity of economic resources, to become city dwellers. The frequent outcome was that such people drifted into the outskirts of several western Cuban cities where they built themselves very rudimentary dwellings out of whatever materials they could lay hands on, or else rented rundown houses where a number of families would all live together. This gave rise to a type of housing known in Cuba by the name of solar (slum) or cuartería. In these surroundings the Cuban rumba was born.

Congas Training course:

This musical instrument training will begin by a survey on its history and its body and after learning the basic movements, the training course will continue by learning the African rhythms , Afro Cuban , Afro Brazilian  and also Afro Iranian rhythms. As for the teaching sources (congas rhythms by Bob evans) and All about congas by Kalani and (congas and bongos by Hakim ludin) and also Roozbeh Zarei’s pamphlets with the following chapters can be used; Musical theory and sight reading, an introduction to simple, complicated and complex rhythms, accent playing, Paradiddle and Rudiment exercises, ghost notes, learning signal sentences and Latin African claves and an introduction to the the triple drums of salidor quinto, tumba and solo improvisation. During the advanced course, playing in pop, afro traditional, Latin, fusion, modern styles along by the related percussion instruments will be taught which will come to an end by group playing exercises.