At the time , clubs in Cuba were segregated ; there were '' sociedades del blancos '' ( white societies ) , '' sociedades de negros '' ( black societies ) , etc . The Buenavista Social Club operated as a black society , which was rooted in a cabildo . Cabildos were fraternities organized during the 19th century by African slaves . The existence of many other black societies such as Marianao Social Club , Unión Fraternal , Club Atenas ( whose members included doctors and engineers ) , and Buenavista Social Club , exemplified the remnants of institutionalized racial discrimination against Afro-Cubans . These societies operated as recreational centers where workers went to drink , play games , dance and listen to music . In the words of Ry Cooder , As a music venue , the Buenavista Social Club experienced the peak of Havana 's nightclub life , when '' charangas '' and '' conjuntos '' played several sets every night , going from club to club over the course of a week . Often , bands would dedicate songs to the clubs where they played . In the case of the Buenavista Social Club , an eponymous danzón was composed by Israel López " Cachao " in 1938 , and performed with Arcaño y sus Maravillas . In addition , Arsenio Rodríguez dedicated " Buenavista en guaguancó " to the same place . Together with Orquesta Melodías del 40 , the Maravillas and Arsenio 's conjunto were known as '' Los Tres Grandes '' ( The Big Three ) , drawing the largest audiences wherever they played . These vibrant times in Havana were described by pianist Rubén González , who played in Arsenio 's conjunto , as " an era of real musical life in Cuba , when there was very little money to earn , but everyone played because they really wanted to "
institutionalized
Institutional racism
Buena Vista Social Club