Bomba is an umbrella term that refers to a variety of musical styles and associated dances originating in Puerto Rico.

[1] It was developed by enslaved Africans and their descendants in sugar plantations along coastal towns, most notably Loiza, Mayagüez, Ponce, and San Juan, during the 17th century.

It incorporates Taíno instruments such as the maraca; characteristics from traditional European dances like rigadoons, quadrilles and mazurkas; and drum ensembles and drummer/dancer interactions that bear close resemblance to a number of West African musical styles.

In the 90’s, the Bomba & Plena group Hermanos Emmanueli Náter brought the genre to the streets for public consumption in the form of “Bombazos” that were designed for communal participation.

Cane workers used them to release feelings of sadness, anger, and resistance; they were also used to communicate and plan rebellions and integrated into baptism and marriage celebrations.

French, Corsican, and Spanish landowners brought slaves to Puerto Rico while fleeing the Haitian Revolution in 1791.

[2] The dancer produces a series of gestures to which the primo o subidor drummer provides a rhythmic pattern, while the buleador (second) maintains the rhythm.

To reinforce regional distinctions, bomba is divided into two main rhythms: sones (south) and seises (north).

[16] Bomba dancers and musicians typically appropriate small spaces in popular areas to “make culture” (“hacer cultura”).

The dancer challenges the Primo Barrel Player (“Tocador/a”), engaging in a rhythmic dialogue and making it difficult to follow them.

Depending on the rhythm, the dancer then has to raise the intensity of the music by increasingly complicating their steps to gradually escalate the challenge directed to the lead drummer.

Experienced dancers finish the challenge at the highest peak of intensity they can achieve before getting tired or losing rhythm.

[1] Founded in South Bronx, this group of musicians and dancers have produced five albums, and they are also known to provide workshops for all ages in the community of El Barrio in Manhattan.

[24] Willie Colón adds occasional bomba breaks to his songs, most particularly in sections of his biggest solo hit, "El gran varón".

1998 marked the 100-year anniversary of the United States invasion of Puerto Rico, and a time when popular discourse focused around national identity and colonialism throughout the island.

[25] In Puerto Rico, knowledge about bomba is present in the oral cultures of protected family spaces, mainly the Cepedas (Santurce) and the Ayalas (Loiza).