World In Stereo: Palenque Palenque: Champeta, Criolla & Afro Roots in Colombia, 1975-91

Various Artists: Palenque Palenque: Champeta, Criolla & Afro Roots in Colombia, 1975-91 (Soundway, 6/08/10)

It is always fascinating to see what happens when two cultures mingle. Unfortunately, the reasons for the cultural exchange often are tragic: rampant colonialism, slavery, and immigration to escape persecution or poverty are the main offenders.

Although the causes of the fusion may not be desirable, the outcome is usually a bounty of music, art, customs, and cuisine that enriches both cultures. Such is the case in Colombia.

During the 17th Century, Spanish conquistadors settled on the Caribbean coast of Colombia, and with them came their slaves. The slaves that were brought to Colombia were mostly from West Africa, including regions now known as Ghana, Nigeria, Guinea, Benin, etc.

The African rhythms were eventually mixed with European instruments, which became known as Cumbia. Cumbia spread across Latin America and even gained a bit of mainstream popularity in the United States during the 1950s.

Fast forward to 1975, and Colombia was on the path to modernization after years of military juntas and coup d’états. Along the Caribbean coast of the country, the Afro-Colombian presence had grown to a sizable minority.

The DJs that performed around cities like Barranquilla and Cartagena began to look to Africa again for musical influence. They began playing Ghanaian high-life and Nigerian afrobeat records, and the funky grooves resonated with the local population of Afro-Colombians.

Bands around Barranquilla began playing a soulful mix of African funk and Cumbia, and the “Champeta” movement was born. The name Champeta comes from a derogatory association between Afro-Colombians and a knife of the same name, beginning as a pejorative term and then being adopted by the culture and adapted to describe the musical style that was enjoyed by “champetudos.”

During the ’70s and ’80s, the music was frequently played through large sound systems or “picós” that were capable of blasting the music to volumes only previously heard at train stations and soccer matches.