Since the second half of S XVIII, began to reach large numbers of black slaves to the port of Montevideo. These forced migrants used their moments of freedom to recreate and maintain rhythms, dances, rituals and celebrations of its former African soil. These celebrations were held on the south side of the city were alluded for the first time in 1760 in Proceedings of the Cabildo. Data of 1834 the first documentary record of the term candombe, in a poem published by the newspaper El Universal. the word is repeated in a police decree of 1839 which prohibits within the city “dances called candombes with the use of the drum.”



The manufacture of drums is a purely traditional task: the first of the colonial era were made of flukes extracted from oak barrels transported rum, sugar or cane from Cuba and other Spanish colonies. Later products such as yerba mate, began arriving in lighter pine or cedar barrels, bringing this material to manufacture. When the mid-twentieth century the bags began to replace the barrels, artisans must generate drums with other types of wood. This change added to the need to achieve a more powerful sound of the drums on the street, changed the shape of the drum, grew in diameter, height and curvature.

The leather is that is used as “patch” is generally equine or bovine leather.

The Chico drum: It is the most high-pitched sound. Stands and floats in the air like a bell. His behavior in the musical collective is to constantly repeat the same key phrase.

The Repique drum: It has a free sound,it creates and gives life to the whole. His behavior in the musical collective is ringing alternately whith each other  calling the “Chicos” to quicken the pace. They make solos and “wood” that is the main key phrase of the candombe rhythm, It listen and interpret what the other drums meant  and set the pece.