Haitians and their descendants in Cuba did not identify themselves as such or speak Creole. In the eastern part of the island, many Haitians suffered discrimination. Classes in Creole are offered in Guantanamo, Matanzas and the City of Havana. There is a Creole-language radio program. Religion Afro-Cubans are predominantly Roman Catholic, with minorities of Protestant. Afro-Cuban religion can be broken down into three main currents: Santería, Palo Monte and include individuals of all origins. Santería is syncretized with Roman Catholicism. Music Since the mid-19th century, innovations within Cuban music have been attributed to the Afro-Cuban community. Genres such as son, conga, mambo and chachachá combined European influences with sub-Saharan African elements. Cuban music evolved markedly away from the traditional European model towards improvisational African traditions. Afro-Cuban musicians have taken pre-existing genres such as trova, country and rap and added their own realities of life in a socialist country and as black persons. Genres like Nueva Trova are seen as live representations of the revolution and have been affected by Afro-Cuban musicians like Pablo Milanes who included African spirituals in his early repertory. Music in Cuba is encouraged both as a scholarly exercise and a popular enjoyment. To Cubans, music and study of it are integral parts of the revolution. Audiences are proud of mixed ethnicity that makes up the music from the Afro-Cuban community, despite there being a boundary of distrust and uncertainty between Cubans and Afro-Cuban culture. Afro-Cuban music can be divided into religious and profane. Religious music includes the chants, rhythms and instruments used in rituals of the religious currents mentioned above. Profane music includes rumba, guaguancó, comparsa (carnival music) and lesser styles such as the tumba francesa. Virtually all Cuban music is influenced by African rhythms. Cuban popular music, and much of the art music, combines influences from Spain and Africa in ways unique to Cuba. For example son combines African instruments and playing styles with the meter and rhythm of Spanish poetic forms. While much of the music is performed in cut-time, artists typically use an array of time signatures like 6/8 for drumming beats. On the other hand, clave uses a polymetric 7/8 + 5/8 time signature. Afro-Cuban arts emerged in the early 1960s with musicians spearheading an amateur movement bringing African-influenced drumming to the forefront of Cuban music. For example, Enrique Bonne's drumming ensembles took inspiration from Cuban folklore, traditional trova, dance music, and