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Por Faisel Iglesias
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Historians and musicologists have always expressed the singular phenomenon of Cuban music as the result of the encounter between whites and blacks. Nevertheless, this is a historical fact that has been repeated for centuries in many parts of the world. Music is vital in the United States, Brazil, Colombia, and Puerto Rico but have only twelve, or fourteen, or fifteen rhythms. However, the largest of the Antilles, Cuba, has more than thirty three rhythms.

Sugar was in the market what petroleum is today; with its shipyards and sugar fields, Cuba's economy was dominating while pirates and corsairs struggled for control in America.
The pin-bolts, screws which were carved in arsenals made peaceful music in the sonorous Clave, imposing melodies while holding on to the stridence of African drums. The Clave created a unit between the music of the whites and the music of the blacks.  
It clear tone, not imposing itself, but placed itself between the melody and rhythm, created the space where the corridor dancer improvised the saloon dance, in which the division of race was prohibited.    
Making poetry is a means of acquiring knowledge and a way for discourse to prove itself. It goes beyond the possibilities of language when it pretends to recount more than one action at the same time. In midst of polyphony of characters and narrators, this work seeks to explain the unique phenomenon of Cuban music in virtue of the most direct path to reach the truth: the art of storytelling.

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