The performance of African music and dances in Uruguay began in the 1800s. The African ‘nations’, associations formed by groups of Africans from different African countries, tried to keep their traditions alive through the organization of social activities. They created ‘salas de nación’ (mutual aid cooperations) that offered a space where different African traditions and religions could be performed and expressed, and meetings could be held (Chirimini, Chapter 15: Candombe 260). (For more information please go to “History”)

Rhythm and dance became forms of communication for the more than twenty different African nations once they arrived in the Americas, as frequently mutual languages were not shared and communication was difficult. It was the characteristic rhythm of Candombe that the slaves had brought with them when they were taken to the American continent, and used it as a means of communication. When they came together to celebrate religious or ritual events drumming and dancing would occur, and these events were called candombes or tangós (Andrews, Blackness in a White Nation 24). Each nation had their own ‘kings’ or ‘governors’ that would preside over the different festivities. The most important festivity held in the salas de nación was the annual celebration of the ‘Candombe de Reyes’ (Candombe of the Kings). It was an annual celebration of the coronation of the kings and queens of the Congo and Angola starting Christmas Day (December 25) and lasting until Three Kings Day (January 6). The king and queen and their royal court were selected from the most respected elders of the different communities. These coronations would commemorate African royal ceremonies in a way that included “aesthetic and religious elements of European origin” such as elements from the contredanse, a seventeenth century dance performed at the European courts (Chirimini 262). The participating African nations would then blend in their own ritual styles.