the accordion, so that for Argentinian groups their adoption was direct. The same happens with Mexico which uses in its northern music as the main performer to the accordion, so it also directed the fusion with the Colombian rhythm in its music that occurred naturally. Later also in cumbia, throughout the continent, would be adopted from the northern music, the “accompaniment” of the bajo sexto, that in turn was taken from the accompaniment of Carmen Rivero’s conga drum, which would be replaced by the guitar and in orchestrated cumbias, would be replaced by the synthesized piano, mainly by the Venezuelan orchestras such as Nelson Henríquez and his Combo. In the mid-1950s in Mexico, the group called “Los Cometas”, enjoyed a singular hit, which musicalized various rhythms of bolero music, Cuban tropical music, among other Cuban rhythms and the foxtrot in their songs. This group recorded for the company CBS (today Sony Music) various classical hits. Their particularity lies in using the accordion in all of their songs as the basis of its rhythm. Thus they remain in the memory of the Mexican people of the time. The hits that mix bolero and tropical with an accordion like “Jugando poker,” “Chupando caña,” “¿En dónde está mi saxofón?”, “Que se mueran los feos,” among others that would bring precedent to the taste of music. Joined with the northern national, by that of accordion, so that the future assimilation of cumbia that contained by nature the accordion, was not an impediment to its adoption. The first Colombian musician to venture to the north of the continent was Luis Carlos Meyer who decided after having a huge success in Colombia, to take a tour of different neighboring countries and go back to the north of the continent arriving for the first time in Mexico. He was one of the first introducers of cumbia in the country, leaving that sample of the new “tropical” music in Mexico. Recording next to the orchestra of Rafael de Paz and Tony Camargo, and in turn what Lucho Bermúdez contributed that introduces other Colombian rhythms like the porro. Therefore, other musicians a few years later would assimilate to the new Colombian rhythm. Meyer continues his climb to the United States where he would finally reside. The origins of Mexican cumbia dance and instrument composition The emergence of the original Mexican ensemble for performing cumbia emerged from the early 1940s