is still a much-loved composition. The music and dance of the contradanza/danza are no longer popular in Cuba but are occasionally featured in the performances of folklore groups. Rhythm The habanera rhythm's time signature is . An accented upbeat in the middle of the bar lends power to the habanera rhythm, especially when it is as a bass ostinato in contradanzas such as "Tu madre es conga". Syncopated cross-rhythms called the tresillo and the cinquillo, basic rhythmic cells in Afro-Latin and African music, began the Cuban dance's differentiation from its European form. Their unequally-grouped accents fall irregularly in a one or two bar pattern: the rhythm superimposes duple and triple accents in cross-rhythm (3:2) or vertical hemiola. This pattern is heard throughout Africa, and in many diaspora musics, known as the congo, tango-congo, and tango. Thompson identifies the rhythm as the Kongo ("call to the dance"). The syncopated rhythm may be vocalised as "boom...ba-bop-bop", and "da, ka ka kan". It may be sounded with the Ghanaian beaded gourd instrument axatse, vocalized as: "pa ti pa pa", beginning on the second beat so that the last "pa" coincides with beat one, ending on the beginning of the cycle so that the part contributes to the cyclic nature of the rhythm, the "pa's" sounding the tresillo by striking the gourd against the knee, and the "ti" sounding the main beat two by raising the gourd and striking it with the free hand. The cinquillo pattern is sounded on a bell in the folkloric Congolese-based makuta as played in Havana. Carpentier states that the cinquillo was brought to Cuba in the songs of the black slaves and freedmen who emigrated to Santiago de Cuba from Haiti in the 1790s and that composers in western Cuba remained ignorant of its existence: Manuel disputes Carpentier's claim, mentioning "at least a half a dozen Havana counterparts whose existence refutes Carpentier's claim for the absence of the cinquillo in Havana contradanza". Danza, tango and later developments The contradanza evolved into the clave (not to be confused with the key pattern of the same name), the criolla and the guajira. From the contradanza in came the (danza) habanera and the danzón. According to Argeliers Léon, the word danza was merely a contraction of contradanza and there are no substantial differences between the music of the contradanza and the danza, Both terms continued to denominate what was essentially the