|This article needs additional citations for verification. (April 2014)|
|Cultural origins||Puerto Rico|
|Typical instruments||güícharo, cuatro, bass, trombone, sax|
|Music of Puerto Rico|
|Music of Puerto Rico|
|Nationalistic and patriotic songs|
|National anthem||La Borinqueña|
The plena originated in Ponce around 1900. It was first heard in the neighborhood Barriada de la Torre, whose population consisted mostly of immigrants from St. Kitts, Tortola, and St. Thomas, who had settled on the island since the late 1800s. Originally, sung texts were not associated with the plena, which was rendered by guitar, accordion and pandero, but eventually, in 1907, singing was added.
Plena was often called the periodico cantado or "sung newspaper" for the lower classes because it spread messages among people, similar to the corridos in Mexico. The traditional center of plena was probably San Antón, a barrio of Ponce, although the black neighborhood of Loíza is also mentioned as the heartland for the genre. Its popularity peaked in the 1920s.
Plena music is generally folkloric in nature. The music's beat and rhythm are usually played using hand drums called panderetas, but also known as panderos. The music is accompanied by a scrape gourd, the guiro. Pleneras resemble tambourines but without the jingles. These are handheld drums with stretched animal skins, usually goat skin, covering a round wooden frame. They are three different sizes of pandereta used in plena: the tumbador (the largest of the three), the seguidor (the medium-sized drum), and the requinto. An advantage of this percussion arrangement is its portability, contributing to the plena's spontaneous appearance at social gatherings. Other instruments commonly heard in plena music are the cuatro, the maracas, and accordions.
The fundamental melody of the plena, as in all regional Puerto Rican music, has a decided Spanish strain; it is marked in the resemblance between the plena Santa María and a song composed in the Middle Ages by Alfonso the Wise, King of Spain. The lyrics of plena songs are usually octosyllabic and assonant. Following the universal custom the theme touches upon all phases of life—romance, politics, and current events. Generally, anything which appeals to the imagination of the people, such as the arrival of a personage, a crime, a bank moratorium, or a hurricane, can be the subject of plena music.
Plena is played throughout Puerto Rico especially during special occasions such as the Christmas season, and as the musical backdrop for civic protests, due to its traditional use as a vehicle for social commentary. When plena is played the audience often joins in the singing, clapping, and dancing.
As a folk genre, there have been many good composers, some well known in their day and into the present. Perhaps one of the genre's most celebrated composers and performers was Manuel Jiménez, known as 'El Canario'. Certainly, there were many others, including such greats as Ramito, Ismael Rivera, Mon Rivera (the Younger), and Rafael Cortijo. The genre has had a revival recently, as evident by the emergence of many plena bands (such as Plena Libre, Atabal, and Viento de agua) and its use in various songs, such as Ricky Martin's recent song "Pégate" and Ivy Queen's "Vamos A Celebrar".
- Todo listo en Ponce para recibir a Cheo Feliciano. Inter News Service. 20 April 2014.
- Welcome to Puerto Rico: Music - see Bomba y Plena
- The Garland Encyclopedia of World Music. Taylor & Francis. 2000. p. 939. ISBN 0-8240-4946-2.
- "Bomba and Plena Artists Offer Live Music in Puerto Rico". La Salita Cafe. Retrieved 28 June 2014.
- Aparicio, Frances R., "Listening to salsa: gender, Latin popular music, and Puerto Rican cultures", Wesleyan University Press, 1998. ISBN 978-0-8195-6308-8. Cf. Chapter Two: A Sensual Mulatta Called the Plena, pp. 27–44.