In Brazil, candombe retains its religious character and can be found in the states of Minas Gerais and Rio Grande do Sul.

It is usually played in February during carnival in Montevideo at dance parades called llamadas and desfile inaugural del carnaval.

Calling themselves Los Negros, upper class porteños in the 1860s and 1870s performed blackface and formed one of the carnival processions each year.

They would set a fire to heat the drums and play candombe music, especially during the night in certain neighborhoods such as Barrio Sur and Palermo in Montevideo.

[3] Lynch's report was interpreted by Robert Farris Thompson in Tango: The Art of Love as meaning that city compadritos danced milonga, not rural gauchos.

For this reason, onwards from 1862, the press, intellectuals and politicians began to assert the misconception of Afro-Argentine disappearance that has remained in the imagination of ordinary people from Argentina.

In Corrientes Province, candombe is part of the religious feast of San Baltasar, a folk patron saint for Black Argentines.

[14] Lately, some artists have incorporated this genre to their compositions, and have also created groups and NGOs of Afro-descendants, as the Misibamba Association, Afro-Argentines of Buenos Aires Community.

However, it is important to note that the Uruguayan Candombe is the most practiced in Argentina, both due to immigration from Uruguay and to the seductiveness of the rhythm that captivates the Argentines.

[15] Recently, due to a change in strategy by the Afro-Argentines to move from concealment to visibility, there are increased efforts to perform it in public places, onstage and in street parades.

Among the groups who play Afroargentine Candombe are: “Tambores del Litoral” (union of “Balikumba” from Santa Fe, and “Candombes del Litoral” from Parana, Entre Ríos), “Bakongo” (these, have their own web page), the “Comparsa Negros Argentinos” and "Grupo Bum Ke Bum (both from Asociación Misibamba).

Contemporary musicians like Diego Janssen and Miguel del Aguila are experimenting with fusing candombe with classical genres, jazz, blues and milonga.

Some of highlights are: in Ansina school: Wáshington Ocampo, Héctor Suárez, Pedro "Perico" Gularte, Eduardo "Cacho" Giménez, Julio Giménez, Raúl "Pocho" Magariños, Rubén Quirós, Alfredo Ferreira, "Tito" Gradín, Raúl "Maga" Magariños, Luis "Mocambo" Quirós, Fernando "Hurón" Silva, Eduardo "Malumba" Gimenez, Alvaro Salas, Daniel Gradín, Sergio Ortuño y José Luis Giménez.

Both are made from hollowed tree trunk, the first is performed lying on the floor, as it is the largest and deepest drum; and the "Sopipa" which is small and acute, is played hung on the shoulder or held between the knees.

A full Candombe group, collectively known as a Comparsa Lubola (composed of blackened white people, traditionally with burnt corks) or Candombera (composed of black people), constitutes the cuerda, a group of female dancers known as mulatas, and several stock characters, each with their own specific dances.

The stock characters include: Candombe is performed regularly in the streets of old Montevideo's south neighbourhood in January and February, during Uruguay's Carnival period, and also in the rest of the country.

During Las Llamadas, members of the comparsa often wear costumes that reflect the music's historical roots in the slave trade, such as sun hats and black face-paint.

The monetary prizes are modest; more important aspects include enjoyment, the fostering of a sense of pride and the winning of respect from peers.