Champeta, also called terapia, is a type of music and dance that began in the Caribbean coast of Colombia in the early 1980s. It came from an earlier style called chalusonga, which started in Palenque de San Basilio in the mid-1970s. Chalusonga mixed Colombian chalupa music with Afro-Cuban drum-based music popularized by the group Estrellas del Caribe. When this music reached Cartagena de Indias, it became champeta, which developed into a cultural movement and identity for Afro-Colombians. Champeta shows influences from African communities in Colombia and from modern African cultures, especially from the Democratic Republic of the Congo.

Musical characteristics

In champeta music, the rhythmic elements are more important than the melody and harmony, making it easy to dance to and known for its strong, flexible feel. The instruments used include voice, percussion, electric guitar, bass, conga drums, and synthesizer, which adds rhythmic sounds. This music style is divided into three parts: an introduction, a chorus, and a section called "el Espeluque," which features powerful, repeated rhythms and is often accompanied by "placas," short breaks that go against the rhythm. The lyrics often show the resistance of Cartagena's African-descended community, addressing issues like social and economic inequality or expressing hopes for change and improvement.

History

The word champeta originally meant a short, curved knife used for killing monkeys and also used in work, kitchens, and as a weapon. The word first became a cultural label in the 1920s. Experts in culture and society have found that before the 1920s, the term champetudo was used to describe people living in the outer areas of Cartagena. These people were often poor and of African descent. Wealthy people used the term to look down on this group, linking it to ideas of being unrefined, poor, and Black. Champeta refers to a culture with a history of slavery and mistreatment.

In the early 1970s, champeta culture became more well-known in Colombia because of the creation of complex dances that used the rhythms of salsa, jíbaro, and later reggae. Over time, new dance styles were added as groups competed to have unique music that others did not own. This music was played loudly through large speakers called picós (from the English word pick-up) by groups with the same name. These early dances were called "therapy" because they helped people relax and take their minds off the country’s economic problems.

Around 1981, a musical style called "creole therapy" began. It was inspired by music brought to Cartagena’s port from Africa and other African communities. The first composers were people of African descent from Cartagena and Palenque de San Basilio, later joined by writers and businesspeople from Barranquilla and other parts of Colombia. This music mixed African rhythms (such as soukous, highlife, mbaqanga, and juju) with rhythms from the Caribbean (like ragga and Haitian compás) and also included influences from Indigenous and Afro-Colombian music (such as bullerengue, mapalé, zambapalo, and chalupa). This style became known as "Colombian therapy" and was finally named after the champeta culture. In the 1990s, champeta changed again with the use of digital music techniques and placas (rhythmic interruptions). Though it started as a culture of the poor, champeta was both admired and criticized by the wealthy.

In 2000, champeta music became popular in the Colombian Caribbean region, led by John Sayas, known as "El sayayín."

Cultural aspects

The standard idea of champeta includes four main parts: music, a special way of speaking, loudspeakers called picós, and festive events called perreos. Some people also consider dance, political actions, clothing, or videos as important parts of champeta. Recently, this cultural movement has also appeared in other areas like movies, books, and visual art.

In Colombia, there are many nightclubs where people can dance to champeta music.

• In Cartagena de Indias, in the Bazurto neighborhood, there is a place called Bazurto Social Club, near Centenario Park. Live bands play champeta music near colorful walls that show Cartagena's history.
• In Bogotá, in the Zona Rosa area, there is a popular bar called Campanario. A live band plays tropical music styles like champeta, reggaeton, reggae, and calypso there.

Performers

Abril and Soto (2004) describe "champeta stars" as artists who have moved beyond their local area and signed agreements with large national and international music companies. These artists 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, and others. Viviano Torres joined early singers of the genre to form the group Anne Swing, which became famous worldwide by the late 1980s and appeared on the United States Top 40 chart. More recent artists include "El Jhonky el profeta" (Jhon Einster Gutíerrez Cassianis), who died in 2005; "El Michel," who wrote a song that represents the champeta lifestyle; Leo Fenix, Karly Way, and El Oveja.

Champeta has also influenced pop and salsa music in Colombia. For example, singer Carlos Vives used the genre in the song "Pa' Maite" and shows its influence in other songs. Similarly, salsa singer Joe Arroyo, who wanted to highlight African and indigenous musical traditions in the Caribbean and Cartagena, combined various African influences, including champeta, in his music. He is described on many of his albums as "champetuo," such as on the album La rebelión.

Cinema

• In 2008, the film Cimarrones al filo de la champeta, created and directed by Jorge Benítez, was the first movie about champeta culture to focus on daily life and the common image of the "champetudo."
• In 2008, the film La gorra was made by Andres Lozano Pineda.
• In 2006, the film Bandoleros, directed by Erlyn Salgado, was noted by journalist Ricardo Chica and researcher Rafael Escallón as the first film to show champeta culture. It was filmed using a cellphone and a Handycam camera and was known for being shared through informal markets, which is typical for Therapy music.