Abstract
In the multiple paths in the slave Atlantic with forced displacement during and after trade we find how culture and identity is re-interpreted through African legacies resulting in different genres of African urban popular music. Congolese rumba, belong to an Atlantic dialogue beginning in other African areas two centuries ago, the evolution of this language and its sound through recordings taking place in the twentieth century. Living dialogue between Africa and its diaspora has produced a series of new identity and expressive narratives and with regard to African popular music is produced in a space of complex relationships back and forth through the creativity of diasporic processes. In the writings repeatedly we found the link with the Cuban rumba, considered as raw material of the Congolese rumba. In this article we want to emphasize how the influence of the Cuban rumba in the city of Brazzaville and Kinshasa sits and flourishes because of a previous Africanization (of Caribbean influence) and a interethnic musical language -in confluence with local languages-, through to the thousands of workers taking a creolized music, reflection of his own condition as a people at cultural crossroads caused by slavery and its abolition, beginning their journey in the early colonization.
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