Bongo Drums are a type of world percussion instrument traditionally made up of two different size drums attached to each other. The larger drum is called a hembra (Spanish for female) and the smaller drum is called the macho (Spanish for male). Drumhead sizes vary between 6" & 7" to 7" & 8 1/2". There are even smaller drum sizes for children: Yes, bongos for kids. Those sizes are typically around 5" & 6". During the early half of the 20th century, Afro-Caribbean rhythms had a huge influence on popular dance music and jazz worldwide. This brought bongos into our cultural vocabulary, from Beatniks to Mambo to the current revival of Cuban folkloric music.

The history of bongo drumming can be traced to the Cuban music styles known as Changui and Son. These styles first developed in eastern Cuba (Orient province) in the late 19th century. Initially, bongos had heads that were tacked and tuned with a heat source. By the 1940s, metal-tuning lugs developed to facilitate easier tuning. It is believed that Bongos evolved from the Abakua Drum trio 'Bonko' and its lead drum 'Bonko Enmiwewos'. These drums are still a fundamental part of the Abakua Religion in Cuba. If joined with a wooden peck in the middle, such drums would look much like the bongos we know today.

Bongos are traditionally held between the legs, with the macho up against one thigh and the hembra down against the opposite calf. Most right-handed players place the macho in the upper left position, as the basic "martillo" pattern focuses on the macho. Lefties can do whatever works best for them. Always strike the drums with the pads of your fingertips, never with your knuckles. Striking with the bony joint will make a louder sound at first, but you will injure your hands that way, and risk causing or aggravating arthritis in your fingers. Practice striking with the pads, using a "snappy" wrist motion, and you will develop the crisp loud sound you want.

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The cajon is believed to have originated in Peru when the African slaves, brought to Peru from Angola, began using fruit crates as percussion instruments. Displaced from their homeland, the African slaves substituted cod shipping crates for their native drums.

In Cuba, small dresser drawers were used for the same purpose. The instrument was refined and became an important part of Cuban and Peruvian music. Early usage of the Peruvian cajon was to accompany Tondero and Zamacueca (old version of Marinera) dances. Tapping knuckles on wooden tables may be considered a predecessor to the cajon.

Three quarter inch pine or other white wood was generally used for five sides of the box. A thin sheet of plywood was nailed on as the sixth side and acted as the head or striking surface. The top edges were often left unattached and could be slapped against the box. A sound hole was cut in the side opposing the head. The player sat on the box striking the head between his legs. The modern cajon has several screws at the top for adjusting percussive timbre and may sport rubber feet. Some versions may also have several vertically stretched cords pressed against the tapa for a buzz like effect or tone.

Today, the cajon is heard extensively in Andean, Cuban, and Flamenco music. It's steadily gaining popularity in all types of contemporary music and has become a favorite for "unplugged" sessions and is often used to accompany the acoustic guitar.

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