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{{Short description|Colombian musical genre}} |
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Cultural phenomenon of [[Made social]] and musical Sort of independent and local origin of the afrodescendientes zones of the districts of [[Cartagena de Indias]], ([[Colombia]]) with bonds of the culture [[Creole palenquero | Palenque of San Basilio]]. |
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{{Infobox music genre |
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| name = Champeta |
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==Etimología== |
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| bgcolor = |
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The word makes reference to the knife, used in the work, in the kitchen and as defense and offensive weapon of this culture of he himself name. |
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| stylistic_origins = Chalusonga (Colombian [[chalupa (music)|chalupa]] combined with Afro-Cuban percussive music)<br />African rhythms ([[soukous]], [[highlife]], [[mbaqanga]], [[juju]])<br />[[Antilles]] rhythms ([[Ragga|rap-raggareggae]], [[Compas|compás haitiano]])<br />Afro-Colombian and indigenous influences ([[bullerengue]], [[mapalé]], [[zambapalo]]) |
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| cultural_origins = Early-1980s, [[Cartagena, Colombia|Cartagena]], [[Colombia]] |
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| instruments = Voice, percussion, bass, electric guitar, synthesiser, keyboard |
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| subgenres = Champeta criolla, champeta urbana, champeta africana |
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| regional_scenes = Colombia |
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| local_scenes = [[Cartagena de Indias|Cartagena]], [[Palenque de San Basilio|Palenque of San Basilio]], Barranquilla |
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}} |
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'''Champeta''', also known as '''terapia''', is a musical genre and dance that originated in the Caribbean coast of [[Colombia]] in the early 1980s. It developed from an earlier style termed '''chalusonga''', which originated in [[Palenque de San Basilio]] in the mid-1970s.<ref name="Vega">{{cite web |last1=Vega |first1=Luis Daniel |title=Estrellas del Caribe: La champeta criolla de San Basilio de Palenque |url=https://www.radionacional.co/noticia/cultura/estrellas-del-caribe-champeta-criolla-san-basilio-palenque |website=Radio Nacional de Colombia |access-date=10 December 2020 |language=es |date=30 August 2016}}</ref> Chalusonga was a combination of Colombian chalupa and Afro-Cuban percussive music popularized by Estrellas del Caribe.<ref name="Vega" /> When their music reached [[Cartagena de Indias]], it evolved into champeta, which became a movement and identity among Afro-Colombians. It shows influences from African colonial settlements and from contemporary African culture, particularly from the [[Democratic Republic of the Congo]].<ref name="Contreras">Contreras Hernández, 2002</ref> |
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==History== |
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The Champeta arises as name or cultural meaning does about 150 years, since it has been dancing for about 35 and as I generate musical comedy about 26. |
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==Musical characteristics== |
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For but of 150 years it has been called to him champetudo to the inhabitants of districts moved away of the center of Cartagena, associated to the layers but poor and of Afrodesendientes characteristics, this name was put by the elite in an attempt to despise to this surviving culture, this name ambiguously accepted and trasformado, occurred from the origin by the relation of the citizens with machetilla “champeta”, and it was associated to him to elements of vulgarity, poverty and negritud, of this form is a culture with a past historically marked between the slavery and I mistreat that it lasts until today, related from a principle to the old districts but like the island Cayman at the moment called Olaya and the Pozón district. |
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In champeta music, the rhythmic base dominates over the melodic and harmonic lines, producing a music easy to dance to and marked by its strength and plasticity. The instruments used include the voice, percussion, electric guitar, bass, conga drums, and the synthesiser, which contributes rhythmic effects. This musical form is characterised by a division into three sequential parts: the introductory music, the chorus, and {{Lang|es|el Despeluque}}, marked by powerful repetitive rhythms and usually accompanied by {{Lang|es|placas}}, interruptions counter to the rhythm. Song lyrics often display the rebellious attitude of [[Cartagena, Colombia|Cartagena]] people of African descent, challenging social and economic exclusion or relating their dreams of change and progress.{{citation needed|date=December 2020}} |
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==History== |
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In the Beginnings of 70 years the champeta as culture becomes but visible at national level (Colombia) by the construction of a series of diverse complex dances to the rate of the music of the Caribbean, with sorts like the Sauce, the Poor farmer and Regué of own countries like Cuba, Costa Rica, and diverse but of the tropic, these first dances by its relajante and desentendida condition of the problematic ones of the Country was called “THERAPY to him”. |
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[[File:Machete knife blade.jpg|thumb|300px|Champeta knife or {{Lang|es|machetilla}}.|alt=]] |
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The word ''champeta'' originally denoted a short, curved, monkey-killing knife of the same name used in the region at work, in the kitchen, and as an offensive weapon. The word is first known to have been used as a cultural identifier in the 1920s. Socio-cultural researchers and sociologists have established that at some time before the 1920s the term {{Lang|es|champetudo}} started to be applied to residents of the more outlying districts of Cartagena, who tended to be poorer and of African descent. The term was applied by the economic elite with the intention of disparaging this surviving culture, with associations of vulgarity, poverty and blackness. Thus ''champeta'' refers to a culture whose history is marked by slavery and mistreatment. |
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At the start of the 1970s, champeta culture became better-known in Colombia due to the development of a set of complex dances set to the rhythms of [[salsa music|salsa]] and [[Jíbaro music|jíbaro]] and later [[reggae]], as well as progressively more foreign or novel dance genres as providers competed for {{Lang|es|exclusivos}}, records other groups did not have in their library. This music was played at full volume through big loudspeakers known locally as {{Lang|es|picós}} (from the English word ''pick-up'') by troupes of the same name. These early dances were called "therapy" for their relaxing nature, a distraction from the economic problems of the country. |
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In years 80 the CREOLE THERAPY” sung by cartageneros and palanqueros personages of San Basilio is begun to create a new one I generate musical comedy “, where soon people of Barranquilla, Santamarta and even of the rest of the country incursionaron, which loudspeakers began to become popular in the machines tips (traveling discotecas pick up). |
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Around 1981, "creole therapy" emerged as a musical genre to be performed and sung. Among its sources of inspiration was recorded music brought into the port of Cartagena from Africa and from other African settlements. Its first composers were people of African descent from [[Cartagena, Colombia|Cartagena]] and Palenque de San Basilio, later joined by songwriters and entrepreneurs from [[Barranquilla]] and other parts of Colombia. It consisted in a fusion of African rhythms ([[soukous]], [[highlife]], [[mbaqanga]], [[juju]]) with those from the [[Antilles]] ([[ragga]], [[compas|compás haitiano]], also influenced by music of Indigenous and Afro-Colombian origins ([[bullerengue]], [[mapalé]], [[Zambapalo (Colombia)|zambapalo]] and chalupa). This style of music came to be known as "Colombian therapy" and finally took on the name of the champeta culture.<ref>Escallón Miranda, 2007</ref> During the 1990s champeta underwent further changes in its musical and other content, with the introduction of digital techniques and {{Lang|es|placas}} (interruptions counter to the rhythm). Despite its social origins, champeta came to be as much appreciated as rejected by the social elite. |
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Soon the same musical sort happened to be called of Creole Therapy to Colombian Therapy and finally Champeta. |
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In 2000 Champeta music had a breakthrough in the Colombian Caribbean region's market with John Sayas "El sayayín" leading the movement.<ref>{{cite news |last1=Zuleta |first1=Melissa |title=La segunda ola de la champeta llegó para quedarse |url=https://www.elheraldo.co/tendencias/la-segunda-ola-de-la-champeta-llego-para-quedarse-169678 |work=EL HERALDO |publisher=El Heraldo |date=12 October 2014 |language=es}}</ref> |
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==cultural Aspects and social Fact== |
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==Cultural aspects== |
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The classic conception of the champetudismo is centered in the existence of four aspects or “columns” of the culture: champeta music (or Therapy), the slang (or Benbocata), Picó (or pick up) and the perreos (or celebrations). There are some who give the same importance to other aspects, as the dance, the political activism, the design of the clothes, and the rest of cultural elements. |
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[[File:Bazurto-champeta-wall.jpg|thumb|Posters advertising a Champeta concert in the market of Bazurto in Cartagena de Indias]] |
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The standard conception of champeta includes four central aspects: musical expression, the distinctive language, the loudspeakers ({{Lang|es|picós}}), and the {{Lang|es|perreos}} – celebrations. Some give equal importance to other aspects such as dance, political activism, costume, or videos. More recently this cultural phenomenon has spread to other art forms such as cinema, literature and the plastic arts.<ref name="Contreras" /> |
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In Colombia there are many nightclubs where people can go dancing to the sound of champeta music. |
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==Music Champeta or Creole Terapia== |
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*In [[Cartagena de Indias]], in the Bazurto neighbourhood, there is a place called Bazurto Social Club, next to the Centenario park, where live bands play champeta near the colourful walls that relate to Cartagena's history.<ref>[http://www.ticartagena.com/en/things-to-do/bars/shake-your-thing-at-bazurto-social-club/ Article by This Is Cartagena on Cartagena's Music Bars, Bazurto Social Club]</ref> |
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*In [[Bogotá]], in the {{Lang|es|zona rosa}}, there is a popular bar called Campanario, where a live band plays all the tropical rhythms such as champeta, reggaeton, reggae, and even calypso.<ref>[http://bogota.vive.in/noche/bogota/lugares_noche/campanario/LUGAR-WEB-FICHA_LUGAR_VIVEIN-12602797.html Article by Vive In on Campanario]</ref> |
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== Performers== |
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It has been a contemporary rate that was born for 26 years in the city of Cartagena de Indias (Colombia) with a great influence of palenque San Basilio and which through the encounter of Music of the Caribbean of the years 80 that were made in Cartagena it extended soon at national level and I influence reciprocally in similar international sorts like the Reggaeton, the Raga and others. I generate Therapy was born like an adaptation of African rates (soukous, highlife, mbquanga, juju) with Antillean vibrations (rap-raggareggae, Haitian compass, zouk, soca and calipso) and influences of descending music of the native and afrocolombiana (bullerengue, mapalé, zambapalo and small canoe). This fusion of rates formed a new urban musical culture in the Caribbean context, that consolidated in the cartageneras quarters in the middle of the Eighties. Soon in years 90 it underwent a series of changes as much in its contents, as in its music, accompanied by digital phenomena, plates (arrhythmic interventions) and as much being loved as rejected by the sectors elites of the country, generating therefore I generate differentiated from its origins enough that inspired it. |
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Abril and Soto (2004) identify as "champeta stars" those artists who have transcended their local background and signed contracts with big national and international music companies. These include "El Sayayín" ([[Jhon Jairo Sayas]]), "El Yinker" ([[Jordan García]]), "Mr. Black El Presidente Del Genero" ([[Edwin Antequera]]), "El Afinaito" ([[Sergio Liñan]]), "Álvaro El Bárbaro" ([[Álvaro Zapata]]), "Elio Boom" ([[Francisco Corrales]]), "El Intelectual" [[Kevin Florez]], [[Twister El Rey]], "Yao & Zaa" [[Viviano Torres]], [[Eddy Jey]], among others. Torres joined the first singers of the genre to form the group [[Anne Swing]], which achieved international fame at the end of the 1980s, appearing in the United States [[Top 40]]. |
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More recent performers include "El Jhonky el profeta" ([[Jhon Einster Gutíerrez Cassianis]]), who died in 2005; "[[El Michel]]", who created an anthem-like song about the champeta way of life; [[Leo Fenix]], [[Karly Way]] and [[El Oveja]]. |
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Champeta has also permeated the pop and salsa music scene in Colombia. For example, singer [[Carlos Vives]] adopted the genre in the song "Pa' Maite" and shows some of this influence elsewhere.<ref>[https://web.archive.org/web/20090203192425/http://www.washingtonhispanic.com/Passissues/paper8_19_5/html/espectaculos.html Article by Lena Hansen on a concert of Carlos Vives, originally published in the Miami Herald]</ref> Similarly, [[salsa music|salsa]] singer [[Joe Arroyo]], aiming to highlight what is of African or indigenous origin in the Caribbean and [[Cartagena, Colombia|Cartagena]], combines various African musical influences such as champeta, and is described on many of his discs as {{Lang|es|champetuo}}, for example ''La rebelión''. |
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In his beginnings one spread through the powerful equipment of sound denominated tips (of pick-up) that sound in the verbenas or houses. It is characterized because the rythmical base prevails over the melódicas and harmonic lines, turning it a bailable musical expression in which an overflowing force and a plasticity predominate. The instruments used in the execution of this glad and contagious rate are the electrical voice, battery, guitars, the low one, congas and the sintetizador, that adds rythmical effects. |
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== Cinema== |
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This Musical Genero has like unique element of, a division temporary of three accelerations, initial music, the choir and a third called element the Despeluque, that is own of strong and repetitive rates accompanied generally by plates (digital interventions) |
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*''Cimarrones al filo de la champeta'' (2008) produced and directed by Jorge Benítez, was the first film about champeta culture to be based on the everyday life and the stereotype of the "champetudo". |
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*''La gorra'', made by [[Andres Lozano Pineda]] also in 2008. |
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*''Bandoleros'' (2006) directed by [[Erlyn Salgado]] recognised by the journalist [[Ricardo Chica]] and the researcher [[Rafael Escallón]] as the first film to display champeta culture. It was filmed using a cellphone and a [[Handycam]] camera, and is notable for having been distributed through informal markets, as is normal for Therapy music. |
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== References == |
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With a popular and full language of inventive the champeteros they sing its experiences. The letters, superposed to African tracks or with original music, demonstrate the contestataria attitude of the discriminated afrocartageneros sectors, that attack against the social and economic exclusion or tell to their dreams of change and progress. |
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{{reflist}} |
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== Bibliography== |
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The Champeta at the moment has the called Hymn I am Champetúo de Michel who speaks of the pride of being champetudo and of problematic on the stratification and its history. |
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*{{cite book |last= Marion Provenzal|first= Claudia Mosquera|date= 2000|title=Construcción de identidad Caribeña popular en Cartagena de Indias a través de la música y el baile de la champeta |trans-title=Construction of a Caribbean identity for people of Cartagena through Champeta music and dance, vol. 3, pp. 98-114|language=es}} |
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* Nicolás R. Contreras Hernández (2002). ''Champeta-Terapia: un pretexto para revisitar las ciudadanías culturales en el Gran Caribe'' (En: ''Champeta-Terapia: an excuse for revisiting cultural citizenships in the Greater Caribbean''), Comfamiliar. |
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* Elisabeth Cunin (2003). ''Identidades a flor de piel: lo "negro" entre apariencias y pertenencias: categorías raciales y mestizaje en Cartagena''(En: ''Skin-deep Identities: "blackness" between appearances and possessions: miscegenation and racial categories in Cartagena'', Ch, 5, Instituto Colombiano de Antropología e Historia, Universidad de los Andes, Instituto Francés de Estudios Andinos, Observatorio del Caribe Colombiano, Bogotá [https://web.archive.org/web/20080506073124/http://www.lablaa.org/blaavirtual/publicacionesbanrep/boletin/bole65/bole7a.htm Web]. |
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*{{cite book |last= Carmen Abril|first= Mauricio Soto|date= 2004|title= Colección economía y cultura|trans-title=Economic and cultural collection|language=es|location= Bogotá|publisher= Observatorio del Caribe Colombiano, Convenio Andrés Bello|isbn= 958-698-149-5}} |
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* Eduardo Restrepo, Axel Rojas (eds.) (2004). ''Conflicto e (In)visibilidad: Retos en los estudios de la gente negra en Colombia'' (En: ''Conflict and (In)visibility: Challenges in the study of black people in Colombia''): Elisabeth Cunin, ''discográfica de Cartagena de la esclavitud al multiculturalismo: el antropólogo, entre identidad rechazada e identidad instrumentalizada'', p. 24 and 148; Carlos Efren Agudelo, ''no todos vienen del rio: construcción de identidades negras urbanas y movilización política en Colombia'', p. 191. Editorial Universidad del Cauca.[https://www.scribd.com/doc/6584930/Conflicto-e-inVisibilidad Web] |
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* Adolfo González Henríquez, Carmen Abril (2005). ''Entre la Espada y la Pared, el futuro económico y cultural de la industria discográfica de Cartagena'' (En: ''On the Horns of a Dilemma: the economic and cultural future of the recorded music industry of Cartagena'', Vol, 1, No. 2, Convenio Andrés Bello y el Observatorio del Caribe, [https://web.archive.org/web/20071022195542/http://ocaribe.org/noticias/2005/junio/champeta.htm Web]. |
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* R. Escallón Miranda (2007). ''La Polarización de la Champeta: Investigación que motivó el reconocimiento de esta cultura y de este género en el Salón Regional y Nacional de Colombia'' (En: ''The Polarization of Champeta''), Roztro - Museo de Arte Moderno de Cartagena, Vol, 1, no. 2. |
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*Michael Birenbaum Quintero (2018). "Exchange, materiality and aesthetics in Colombian champeta." ''Ethnomusicology Forum'', DOI: 10.1080/17411912.2018.1454842. |
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== External links== |
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The Dj Chawala of the King de Rocha in the video, like part protagonist of this culture, is part of the Regional Hall Artists 2007 Bad Hall Eye, thanks to the intellectual support and of investigation titled the Polarization of the Champeta of the artist Rafael Escallón Miranda on this culture and its manifestations, who as much in this as in previous occasions has developed manifest champetudos plastics, related to the communication, the policy and the relation of this culture with the characteristic of Weapon like the trasgresor or contestatario, its important work but alludes to the tips and PIKÓ TOTEM is titled becoming in year 2005 leaves from the collection Permanent of the Museum of Modern Art of Cartagena and where soon also in 2006 she was winning of the Hall Art and Sport of the American Games Center and the Caribbean. |
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* [https://www.youtube.com/watch?v=3HqRPEFezt8 Vídeo ''Polarización de la Champeta''] |
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==In the cinema== |
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The Film Brigands of its director Erlyn Salgado of Palenquero-Cartagenero origin was recognized like the first filmic manifestation of this Champeta culture, this film obtained diverse mentions in the Festival the International of Cinema, was doubled to the Portuguese and was Vista by all the Latin American countries and until European by the Pirate market, this production recently also is part of the Bad hall Eye of the Regional Halls Colombia. |
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==Tips== |
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At the moment the recognized tips but are: The King de Rocha, the Prince, the Siclon, the Pasqui and the Pole, among others. |
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==Musical== |
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The musicians of Champeta are Michel, the Afinaíto, the Sayayín, Charles King, the Pupy, the Jhonky (D.E.P.), Elio Boom, Mister Black, the enchantment, Alvaro “the Barbarian”, the Papo Man, Luis Towers, the Yao, Ito “the untouchable one”, Boogaloo, Dogardisc, Melchor Torres, the Pupy, Charles King, the Pitu, the Chano…, whereas others, like Elio Boom, have incorporated music of jamaicadel raggamuffin to the champeta. |
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==Curiosities== |
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Outside Colombia Carlos is listened to You live that he interpreted in I generate Champeta Therapy in Song “PA MAITE”. |
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Outside Colombia also DANIDEX it interprets the version in Spanish of Mr Lonely and has welcome. |
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The Joe Arroyo dedicates itself to mix diverse musical influences, fundamentally the sauce with Colombian Caribbean music with the champeta. |
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Another significant bandage is BIP, that it originally made music of the champeta and is doing at the moment reggaeton, without going away behind its roots. |
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==Biliografía== |
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LENA HANSEN (2006): “Carlos You live to all rate”, in washingtonhispanic.com, vol. 2, Nº 2. Web |
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==external Enlaces== |
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*[http://www.youtube.com/watch?v=QGiaT29TIZs Vídeo de la Cultura Champeta] |
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*[http://www.youtube.com/watch?v=W3BugWdjzCc Himno de la Cultura Champeta por Michel] |
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This article or section needs to be wikificado with a format adapted to the conventions of style of Wikipedia. |
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=List of Champeta Bands and Musicians= |
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*Chawala |
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*Luis Towers also known as "Rasta" |
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*Afinaíto |
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*Anne Swing |
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*Papo Man |
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*El Sobrino (top player of the "batteria" at Rey de Rocha Concerts) |
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*Charles King also known as Charley King |
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*El Sayayín |
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*DANIDEXTER - Mr lonely Spanish |
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*El Grubjesic |
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*El Pupi |
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*El johnky died last year (2006) |
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*Mr. Black |
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*El Encato |
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*Michael El Gringo Champetuo |
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*Kussima |
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*El Maestro also known as Edwin |
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*Mitchel |
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*Alvaro "El Barbaro" |
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*El Yao |
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*Ito "El Intocable" |
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*Boogaloo |
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*Elio Boom (mixed champeta/raggamuffin) |
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*[[BIP]] ([[reggaeton]] and champeta.) |
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=List of Popular Champetas= |
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*La Camisa Rayada |
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*La Boca Grande |
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*La Rubia de Oro |
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*Bicarbonato |
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*Suelta La Manca |
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*La Chiva de Miguel |
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*la suegra voladora |
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*cipriano |
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==External links== |
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* [http://www.RitmoCaribe.net Champeta Concerts and Music] Largest [[Record label|Record Label]] in Cartagena with Champeta concert pictures and free listening to fresh Champeta and Reggaeton tracks from the studios of Cartagena and Barranquilla |
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* [http://www.Champeta.net Champeta Portal Direct From Cartagena] Largest Champeta Record Label in Cartagena and free radio for all Champeta |
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* [http://www.Afinaito.com Super hits of Afinaito currently one of the most popular singers in Champeta] |
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* [http://www.AnneSwing.com Anne Swing Champeta singers website with MP3 streaming and free photos] |
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* [http://www.ElBoogaloo.com Boogaloo is a very popular Champeta singer with a concert venue in Cartagena Colombia] |
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* [http://www.Champeton.com Champeton is the new fusion music mixing the lyrics beats and styles of Champeta with Reggaeton] |
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* [http://www.Charles-King.com Charles King one of the best known and longest in the business Champeta Singers] |
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* [http://www.Chawala.net Chawala is the head DJ and master of cerimonies of Rey De Rocha concert venue and is referred to as the king of Champeta] |
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* [http://www.El-Encanto.net El-Encanto Champeta singer website with music and photos] |
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* [http://www.El-Maestro.net El-Maestro Champeta singer website with music and photos] |
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* [http://www.ElMichel.com El-Michel Champeta singer for Rey De Rocha website with music and photos] |
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* [http://www.ElPupi.com Popular El-Pupi Champeta singer website with music and photos] |
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* [http://www.ElSobrinoSePega.com El Sobrino Champeta drummer with large following website with music, video and photos] |
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* [http://www.ElioBoom.com Elio Boom Champeta singer website with music, video and photos] |
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* [http://www.Itoelintocable.com Ito "El Intacable" Champeta singer website with music and photos] |
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* [http://www.Kussima.com Kussima Champeta singer website with music and photos] |
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* [http://www.ritmocaribe.net/bands/24 Mr Black well known Champeta singer website with music, video and photos] |
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* [http://www.Papoman.net Papo Man Champeta singer website with music and photos] |
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* [http://www.ReyDeRocha.com Rey De Rocha the largest Champeta concert venue the in Cartagena website with music and photos] |
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* [http://www.El-Michel.com El-Michel Champeta singer website with music and photos] |
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* [http://www.danidexter.blogspot.com reggaeton singer website with music and photos] |
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* [http://www.travel-impressions.de/champeta/champeta.htm Champeta Photos] in Cartagena |
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* [http://www.worldmusiccentral.org/article.php?story=20040528164253404 Champeta Criolla] (Home Grown Champeta) |
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--> |
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[[Category: Latin rates]] [[Category: Culture Afro-descendant and Native]] [[in: Champeta]] {{to wikificar}} |
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[[Category:Colombian styles of music]] |
[[Category:Colombian styles of music]] |
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[[Category: |
[[Category:Colombian musicians]] |
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[[Category:Tropical music]] |
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[[es:Champeta]] |
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==Video== |
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*[http://www.youtube.com/watch?v=QGiaT29TIZs Vídeo de la Cultura Champeta] |
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*[http://www.youtube.com/watch?v=W3BugWdjzCc Himno de la Cultura Champeta por Michel] |
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{{Colombia-stub}} |
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{{dance-stub}} |
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Latest revision as of 21:15, 7 December 2023
| Champeta | |
|---|---|
| Stylistic origins | Chalusonga (Colombian chalupa combined with Afro-Cuban percussive music) African rhythms (soukous, highlife, mbaqanga, juju) Antilles rhythms (rap-raggareggae, compás haitiano) Afro-Colombian and indigenous influences (bullerengue, mapalé, zambapalo) |
| Cultural origins | Early-1980s, Cartagena, Colombia |
| Typical instruments | Voice, percussion, bass, electric guitar, synthesiser, keyboard |
| Subgenres | |
| Champeta criolla, champeta urbana, champeta africana | |
| Regional scenes | |
| Colombia | |
| Local scenes | |
| Cartagena, Palenque of San Basilio, Barranquilla | |
Champeta, also known as terapia, is a musical genre and dance that originated in the Caribbean coast of Colombia in the early 1980s. It developed from an earlier style termed chalusonga, which originated in Palenque de San Basilio in the mid-1970s.[1] Chalusonga was a combination of Colombian chalupa and Afro-Cuban percussive music popularized by Estrellas del Caribe.[1] When their music reached Cartagena de Indias, it evolved into champeta, which became a movement and identity among Afro-Colombians. It shows influences from African colonial settlements and from contemporary African culture, particularly from the Democratic Republic of the Congo.[2]
Musical characteristics
[edit]In champeta music, the rhythmic base dominates over the melodic and harmonic lines, producing a music easy to dance to and marked by its strength and plasticity. The instruments used include the voice, percussion, electric guitar, bass, conga drums, and the synthesiser, which contributes rhythmic effects. This musical form is characterised by a division into three sequential parts: the introductory music, the chorus, and el Despeluque, marked by powerful repetitive rhythms and usually accompanied by placas, interruptions counter to the rhythm. Song lyrics often display the rebellious attitude of Cartagena people of African descent, challenging social and economic exclusion or relating their dreams of change and progress.[citation needed]
History
[edit]
The word champeta originally denoted a short, curved, monkey-killing knife of the same name used in the region at work, in the kitchen, and as an offensive weapon. The word is first known to have been used as a cultural identifier in the 1920s. Socio-cultural researchers and sociologists have established that at some time before the 1920s the term champetudo started to be applied to residents of the more outlying districts of Cartagena, who tended to be poorer and of African descent. The term was applied by the economic elite with the intention of disparaging this surviving culture, with associations of vulgarity, poverty and blackness. Thus champeta refers to a culture whose history is marked by slavery and mistreatment.
At the start of the 1970s, champeta culture became better-known in Colombia due to the development of a set of complex dances set to the rhythms of salsa and jíbaro and later reggae, as well as progressively more foreign or novel dance genres as providers competed for exclusivos, records other groups did not have in their library. This music was played at full volume through big loudspeakers known locally as picós (from the English word pick-up) by troupes of the same name. These early dances were called "therapy" for their relaxing nature, a distraction from the economic problems of the country.
Around 1981, "creole therapy" emerged as a musical genre to be performed and sung. Among its sources of inspiration was recorded music brought into the port of Cartagena from Africa and from other African settlements. Its first composers were people of African descent from Cartagena and Palenque de San Basilio, later joined by songwriters and entrepreneurs from Barranquilla and other parts of Colombia. It consisted in a fusion of African rhythms (soukous, highlife, mbaqanga, juju) with those from the Antilles (ragga, compás haitiano, also influenced by music of Indigenous and Afro-Colombian origins (bullerengue, mapalé, zambapalo and chalupa). This style of music came to be known as "Colombian therapy" and finally took on the name of the champeta culture.[3] During the 1990s champeta underwent further changes in its musical and other content, with the introduction of digital techniques and placas (interruptions counter to the rhythm). Despite its social origins, champeta came to be as much appreciated as rejected by the social elite.
In 2000 Champeta music had a breakthrough in the Colombian Caribbean region's market with John Sayas "El sayayín" leading the movement.[4]
Cultural aspects
[edit]
The standard conception of champeta includes four central aspects: musical expression, the distinctive language, the loudspeakers (picós), and the perreos – celebrations. Some give equal importance to other aspects such as dance, political activism, costume, or videos. More recently this cultural phenomenon has spread to other art forms such as cinema, literature and the plastic arts.[2]
In Colombia there are many nightclubs where people can go dancing to the sound of champeta music.
- In Cartagena de Indias, in the Bazurto neighbourhood, there is a place called Bazurto Social Club, next to the Centenario park, where live bands play champeta near the colourful walls that relate to Cartagena's history.[5]
- In Bogotá, in the zona rosa, there is a popular bar called Campanario, where a live band plays all the tropical rhythms such as champeta, reggaeton, reggae, and even calypso.[6]
Performers
[edit]Abril and Soto (2004) identify as "champeta stars" those artists who have transcended their local background and signed contracts with big national and international music companies. These include "El Sayayín" (Jhon Jairo Sayas), "El Yinker" (Jordan García), "Mr. Black El Presidente Del Genero" (Edwin Antequera), "El Afinaito" (Sergio Liñan), "Álvaro El Bárbaro" (Álvaro Zapata), "Elio Boom" (Francisco Corrales), "El Intelectual" Kevin Florez, Twister El Rey, "Yao & Zaa" Viviano Torres, Eddy Jey, among others. Torres joined the first singers of the genre to form the group Anne Swing, which achieved international fame at the end of the 1980s, appearing in the United States Top 40. More recent performers include "El Jhonky el profeta" (Jhon Einster Gutíerrez Cassianis), who died in 2005; "El Michel", who created an anthem-like song about the champeta way of life; Leo Fenix, Karly Way and El Oveja.
Champeta has also permeated the pop and salsa music scene in Colombia. For example, singer Carlos Vives adopted the genre in the song "Pa' Maite" and shows some of this influence elsewhere.[7] Similarly, salsa singer Joe Arroyo, aiming to highlight what is of African or indigenous origin in the Caribbean and Cartagena, combines various African musical influences such as champeta, and is described on many of his discs as champetuo, for example La rebelión.
Cinema
[edit]- Cimarrones al filo de la champeta (2008) produced and directed by Jorge Benítez, was the first film about champeta culture to be based on the everyday life and the stereotype of the "champetudo".
- La gorra, made by Andres Lozano Pineda also in 2008.
- Bandoleros (2006) directed by Erlyn Salgado recognised by the journalist Ricardo Chica and the researcher Rafael Escallón as the first film to display champeta culture. It was filmed using a cellphone and a Handycam camera, and is notable for having been distributed through informal markets, as is normal for Therapy music.
References
[edit]- ^ a b Vega, Luis Daniel (30 August 2016). "Estrellas del Caribe: La champeta criolla de San Basilio de Palenque". Radio Nacional de Colombia (in Spanish). Retrieved 10 December 2020.
- ^ a b Contreras Hernández, 2002
- ^ Escallón Miranda, 2007
- ^ Zuleta, Melissa (12 October 2014). "La segunda ola de la champeta llegó para quedarse". EL HERALDO (in Spanish). El Heraldo.
- ^ Article by This Is Cartagena on Cartagena's Music Bars, Bazurto Social Club
- ^ Article by Vive In on Campanario
- ^ Article by Lena Hansen on a concert of Carlos Vives, originally published in the Miami Herald
Bibliography
[edit]- Marion Provenzal, Claudia Mosquera (2000). Construcción de identidad Caribeña popular en Cartagena de Indias a través de la música y el baile de la champeta [Construction of a Caribbean identity for people of Cartagena through Champeta music and dance, vol. 3, pp. 98-114] (in Spanish).
- Nicolás R. Contreras Hernández (2002). Champeta-Terapia: un pretexto para revisitar las ciudadanías culturales en el Gran Caribe (En: Champeta-Terapia: an excuse for revisiting cultural citizenships in the Greater Caribbean), Comfamiliar.
- Elisabeth Cunin (2003). Identidades a flor de piel: lo "negro" entre apariencias y pertenencias: categorías raciales y mestizaje en Cartagena(En: Skin-deep Identities: "blackness" between appearances and possessions: miscegenation and racial categories in Cartagena, Ch, 5, Instituto Colombiano de Antropología e Historia, Universidad de los Andes, Instituto Francés de Estudios Andinos, Observatorio del Caribe Colombiano, Bogotá Web.
- Carmen Abril, Mauricio Soto (2004). Colección economía y cultura [Economic and cultural collection] (in Spanish). Bogotá: Observatorio del Caribe Colombiano, Convenio Andrés Bello. ISBN 958-698-149-5.
- Eduardo Restrepo, Axel Rojas (eds.) (2004). Conflicto e (In)visibilidad: Retos en los estudios de la gente negra en Colombia (En: Conflict and (In)visibility: Challenges in the study of black people in Colombia): Elisabeth Cunin, discográfica de Cartagena de la esclavitud al multiculturalismo: el antropólogo, entre identidad rechazada e identidad instrumentalizada, p. 24 and 148; Carlos Efren Agudelo, no todos vienen del rio: construcción de identidades negras urbanas y movilización política en Colombia, p. 191. Editorial Universidad del Cauca.Web
- Adolfo González Henríquez, Carmen Abril (2005). Entre la Espada y la Pared, el futuro económico y cultural de la industria discográfica de Cartagena (En: On the Horns of a Dilemma: the economic and cultural future of the recorded music industry of Cartagena, Vol, 1, No. 2, Convenio Andrés Bello y el Observatorio del Caribe, Web.
- R. Escallón Miranda (2007). La Polarización de la Champeta: Investigación que motivó el reconocimiento de esta cultura y de este género en el Salón Regional y Nacional de Colombia (En: The Polarization of Champeta), Roztro - Museo de Arte Moderno de Cartagena, Vol, 1, no. 2.
- Michael Birenbaum Quintero (2018). "Exchange, materiality and aesthetics in Colombian champeta." Ethnomusicology Forum, DOI: 10.1080/17411912.2018.1454842.