The Cajón: From Afro-Peruvian Roots to Global Percussion Phenomenon
The Cajón, derived from the Spanish word for "box," is a box-shaped percussion instrument that originated in Peru. It is played by slapping the front or rear faces, typically made of thin plywood, with the hands, fingers, or various implements such as brushes, mallets, or sticks. The Cajón has its roots in Afro-Peruvian music, specifically música criolla, but has also found its way into flamenco and other Latin American musical styles, such as the Cuban cajón de rumba and the Mexican cajón de tapeo.
The Cajón has a rich history that can be traced back to the late 19th century when it became the most widely used Afro-Peruvian musical instrument. It is believed to have been developed during the period of slavery in coastal Peru, with slaves of West and Central African origin considered to be the source of the Cajón drum. Over time, the instrument gained popularity and by the end of the 19th century, Cajón players were experimenting with its design by bending planks in the Cajón's body to alter its patterns of sound vibration. After slavery, the Cajón spread to a larger audience, including Criollos.
There are two complementary origin theories for the Cajón. One theory suggests that the instrument is a direct descendant of box-like musical instruments from West and Central Africa, especially Angola and the Antilles, which were adapted by slaves from the Spanish shipping crates available to them. In port cities like Matanzas, Cuba, codfish shipping crates and small dresser drawers were turned into similar instruments. Another theory suggests that slaves used boxes as musical instruments to subvert Spanish colonial bans on music in predominantly African areas, essentially disguising their instruments.
The Cajón has evolved over time and has become a versatile instrument that is now used in various musical genres and regions around the world. In the 20th century, the Cajón was not commonly used in the festejo, a traditional Afro-Peruvian music genre, due to the influence of Perú Negro, a musical ensemble founded in 1969. However, the Cajón began to gain prominence in Peruvian music and became a symbol of Peruvian blackness, surpassing the guitar in importance.
The Cajón's global popularity was further enhanced when Spanish flamenco guitar player Paco de Lucía encountered the instrument during a visit to Peru in 1977. Impressed by the rhythmic possibilities of the Cajón, Paco de Lucía brought it to Spain and started using it in his own music. It was later introduced to Spanish flamenco by percussionist Pepe Ébano, and it was used in Paco de Lucía's iconic piece "Entre dos aguas."
Today, the Cajón can be heard extensively in various musical styles, including Coastal Peruvian genres such as Tondero, Zamacueca, and Peruvian Waltz, as well as Spanish modern Flamenco and certain styles of modern Cuban Rumba. It has also found its place in other genres such as blues, pop, rock, funk, world music, jazz, and folk music, including the folk music of Ireland where it is sometimes used in place of the traditional bodhrán frame drum.
The Cajón is typically played by sitting astride the box and tilting it at an angle while striking the head between the knees. The percussionist can also play the sides with the top of their palms and fingers for additional sounds. Some percussion with their hands while using a bass drum pedal simultaneously. However, this technique allows for unique and creative rhythmic possibilities.
In addition to its use in Afro-Peruvian music, flamenco, and other Latin American musical styles, the cajón has also gained popularity in other genres of music. It is now widely used in blues, pop, rock, funk, world music, jazz, and folk music from various regions around the world. The cajón's versatility and ability to produce a wide range of sounds make it a valuable addition to many musical ensembles.
The playing technique for the cajón involves the player sitting astride the box, tilting it at an angle while striking the front or rear faces with their hands, fingers, or other implements such as brushes, mallets, or sticks. The player can also play the sides of the cajón with the top of their palms and fingers to produce additional sounds. Some percussionists even attach a bass drum pedal to the cajón, allowing them to play it with a single foot while leaving their hands and other foot free to play other instruments.
There are also innovative techniques developed for playing the cajón, such as the Pen Technique by Patrizio Migliarini, which involves using plastic or metal brushes, similar to those used for drum kits, to play jazz and funky rhythms with a completeness and dynamic richness close to that of a drum set. Another technique involves using an ordinary bass drum pedal, effectively turning the cajón into an indirect percussion instrument that can be played with the feet. This technique, while limiting the player's standard cajón-playing position, allows for unique and creative possibilities.
In recognition of its cultural significance, the cajón was declared National Heritage by the Peruvian National Institute of Culture in 2001, and in 2014, the Organization of American States declared it an "Instrument of Peru for the Americas." The cajón's rich history, cultural significance, and versatile musical applications have made it a beloved and widely used percussion instrument in music styles around the world.
While the cajón is too big to be played at home comfortably, smaller percussion instruments, such as tongue drum, provide this opportunity.
No previous training or skills are necessary to enjoy these fascinating instruments. It is impossible to play them incorrectly. Anyone can play them: those who want to develop a good sense of rhythm and an ear for music, those who are seeking relaxation after a hard day at work, those who have always had an interest in learning how to play a musical instrument, and those who want to introduce something unusual into their lives and explore their inner selves.
This book is aimed at those who want to add popular melodies to their experimentation.
We use numbers above the classic notes because most modern tongue drums have numbers engraved or painted on their keys. This is great for the absolute beginner who cannot read sheet music.
