Publication: La Música Champeta: un movimiento de resistencia cultural afrodescendiente a través del cuerpo
Authors
Cueto Quintero, Edinson
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Publisher
Universidad de Murcia. Servicio de Publicaciones
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DOI
https://doi.org/10.6018/daimon/270971
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info:eu-repo/semantics/article
Description
Abstract
La música Champeta, cuyo epicentro es la ciudad Cartagena de Indias, reforzó la
identidad afrodescendiente de los palenqueros,
repercutió en la “comunidad sonora” constituida
por los pueblos del Caribe y permeó la identidad
nacional. Actualmente, antropólogos y sociólogos
reconocen en ella referencias histórico-sociales
africanas. Su baile constituye un ritual de resistencia socio-cultural que se ha convertido en un
fenómeno cultural que tiene espacio en la radio y
televisión. Sin embargo, en sus inicios fue rechazada y tuvo que ser difundida por los picós, que
con alto volumen incitaban a los afros al baile
atrevido que les recordaba sus orígenes africanos.
Champeta music, whose epicenter is India’s Cartagena city, strengthened the identity of black African-descendant, affected the “sound community” integrated by the Caribbean ́s peoples and permeated the national identity. Nowadays, anthropologists and sociologists recognize inside its social and historical African references. Its dance is a ritual of socio-cultural resistance that has become in a cultural phenomenon that has space in radio and television. Nevertheless, at the beginning it was rejected, and had to be spread by the picós with high volume incited to the afro ́s people to daring dance that reminded they their African origins
Champeta music, whose epicenter is India’s Cartagena city, strengthened the identity of black African-descendant, affected the “sound community” integrated by the Caribbean ́s peoples and permeated the national identity. Nowadays, anthropologists and sociologists recognize inside its social and historical African references. Its dance is a ritual of socio-cultural resistance that has become in a cultural phenomenon that has space in radio and television. Nevertheless, at the beginning it was rejected, and had to be spread by the picós with high volume incited to the afro ́s people to daring dance that reminded they their African origins
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Citation
Daimon. Revista Internacional de Filosofía, 2016, Suplemento 5, pp. 651-658
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