Afro-Cuban spiritual music is a cultural treasure where elements from the coexistence of Cuban aboriginal peoples, African slaves and European settlers converge. This program explores some of the musical forms, songs and dances that combined to give rise to a new cultural identity, illustrating religious and artistic syncretism through music. In this process, European culture was deeply influenced by African and American rhythms.

One of the most prominent expressions of this tradition are the songs to the orishas, ​​deities of the Yoruba religion practiced by many Afro-Cubans. The program includes pieces such as the “Canto a Yemayá,” venerated as the mother of the waters, and the “Canto a Elegguá,” which opens the paths between the human and spiritual world, among other compositions. These manifestations are a living reflection of the African heritage in Cuban culture.

The influence of European composers on Cuban spiritual music is also notable. Hernando Franco, chapel master of the Cathedral of Santiago de Cuba between 1563 and 1564, left a work that shows the confluence of European and African styles. Although much of his legacy is preserved in Mexico, his contributions were essential to the musical development of the island. Likewise, Francisco Guerrero, whose music resonated in the Santiago cathedral, according to a letter from Silvestre Balboa in 1604, left a significant imprint. Documents indicate that Esteban Salas, another key composer in Cuban musical history, knew and transcribed works by great names of the Spanish Renaissance such as Tomás Luis de Victoria, Francisco Guerrero and Rodrigo de Ceballos.

This cultural exchange was not unidirectional. Rhythms and dances of indigenous origin, such as the zarambeque and the chacona, transcended the borders of Cuba and spread throughout Europe. These dances, with African, European and indigenous roots, reflect the cultural diversity of the island. The zarambeque, mentioned in the interlude “Los sones” by Villaviciosa (1661), and the chacona, popularized by authors such as Lope de Vega, brought new movements and rhythms from the Americas that enriched the Spanish artistic panorama.

Afro-Cuban spiritual music is a testament to the richness and complexity of cultural interactions in Cuba. From songs to the orishas to indigenous dances and the influences of European composers, this tradition reflects the living history of the island. The program includes, among other pieces, the popular theme “Un pobre portalillo” (A Little Poor Portal), which appears in the Christmas carol “Albricias Pastores” by Juan París, and the work “L’Ameriquaine” by Marin Marais, both evidence of cultural influence and musical fusion.

In conclusion, the roots of Afro-Cuban spiritual music are profoundly diverse, encompassing a rich range of forms, styles and traditions that connect the present with a past of coexistence and shared creation. This music, in addition to being a source of inspiration, reminds us of the importance of cultural exchange as a driving force of enrichment and transformation.