Edited by Azizi Powell
This post provides information about Champeta, a genre of folk music and dance originating South America's Black Colombians.
This post also showcases a video of a 1994-1995 example of Champeta music by Elio Bloom. Information about Elio Bloom is also included in this post along with selected comments from that featured video;s discussion thread.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the early composers, musicians, and dancers of Champeta music. Thanks also to Elio Bloom for his composition and performance of La Turbina Champeta. In addition thanks to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
INFORMATION ABOUT CHAMPETA MUSIC
Champeta is a genre of folk music and dance originating in the Atlantic coastal regions of Colombia.
Champeta originated among inhabitants of African descent of the Colombian cities of Cartagena de Indias and Barranquilla, and was linked with the culture of the Palenque of San Basilio district. It shows influences of musical genres from Euro-African colonial settlements and from the continent of Africa. 
The word “champeta” originally denoted a short, curved 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. It was used to identify a dance in the 1970s and a musical genre in the 1980s.
Champeta knife or machetilla.
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 élite 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. This music was played at full volume through big loudspeakers known locally as “picós” (from the English word “pick-up”). These early dances were called “therapy” for their relaxing nature, a distraction from the economic problems of the country.
Development of the musical genre
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 Euro-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, Santa Marta and other parts of Colombia. It consisted in a fusion of African rhythms (soukous, highlife, mbquanga, juju) with those from the Antilles (rap-raggareggae, 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. 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 élite…
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 a third element known as “el Despeluque”, marked by powerful repetitive rhythms and usually accompanied by “placas”. 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.
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.”...
INFORMATION ABOUT ELIO BLOOM
From https://translate.google.com/translate?hl=en&sl=es&u=http://www.shock.co/cultura/articulos/de-la-casa-con-elio-boom-la-champeta-urbana-suena-puro-reggaeton-57971&prev=search House of Elio Boom: "Urban champeta sounds like pure reggaeton", May 17, 2014
BY: Jenny Cifuentes @Jenny_cifu / Photo: Facebook artist.
[Pancocojams Editor: This online translated page from Spanish to English is given "as is".]
"Elio Boom is the man of "pure cash hesitate." Veteran, hard weights champeta, has engaged thousands seething rhythms with hits like Turbine (see the video) , and has passed the changes and the glories of the genre. Amid the excitement of this musical style, Elio tells us about his story and think about the "Champeta Urbana".
SHOCK: Tell us about your beginnings in music
I was born in Turbo (Antioquia), when I was kid listening to a lot of African music and reggae sung in Spanish, Jamaican and raggamuffin. He heard a Panamanian singer called Renato, La Chica Eye Coffee and Nando Boom, which was the subject Girl That I hesitates, two well-known hits. I learned listening to LPs that put on the peaks, records arriving from Miami, Panama or the Caribbean Islands. Between 89 and 90 I was famous Turbo with my first song was called Fifteen primroses, and Gol, another court dedicated to national football teams in naming characters like Tino Asprilla, El Palomo Usurriaga, or my JJ Trelles cousin. I sang about Jamaican tracks in a station program Apartado Stereo, a possibility offered by the owners of the radio, people recorded cassettes space and thus knew and my subjects were promoted. That was the way because he could not record in a studio. Then I began to travel from one village to another and I became known in Urabá....
Turbine is one of his greatest hits, tell us about the song
Made part of the disc published in 1995, Criolla Elio Boom therapy, also with Yamiro Marin. He went under the seal Rocha Disc, now King Records. The track Turbine made William Simanca emulating the African tracks. The put a lot in Monteria stations and lasted almost a year playing in the King of Rocha, in Cartagena, because I recorded in '94 People also told him "sink it to" by a phrase of the song. After that album did a national tour. He had several cuts glued as DEA, El Condor, etc. I said "The Diomedes of Champeta".
Who made the tracks?
Most were African tracks, Yamiro traveled to the United States and sought the licenses.
After the disc Criolla Elio Boom Therapy what other published?
The Knight Champeta which included the track Seiya for a tv program of 90-, I still reigning, Let him be born, Elio Boom complete with Protagonist Champeta.
Whence came the phrase: "This is pure cash hesitate , " we have heard repeated many times to different groups?
A song called El Loco in Ceballos, who recorded twice.
Tell us about this commercial explosion that took champeta more than one decades ago
It was starting the 2,000, at that time the major labels were fixed on gender. Among the artists they were sounded The Afinaito, The sayayin, Mr Black, Alvaro Barbarian, Cándido Pérez. It did not last long but the music was released in other regions, such as inside. I remember in 2000 came the greetings to the champeta, which we call them "cobas" before not greet anyone.
What do you think about urban champeta?
I think the urban champeta does not sound champeta, it seems pure reggaeton. the flavor was lost, the joy, the characteristic sound of the guitar, and champeta without guitar is not champeta. Of course I have also subjects without guitar, but I speak in general and I say this because the touch guitarrudo so important in the genre, he disappeared. Even the keyboards are missing. Many go on stage alone with a DJ, without a good band, without instrumental support. Obviously there are current exponents still remain glued to the concept of champeta as Mr. Black.
As for lyrics, I think they have left the bacanas letters, missing experiences, heartfelt lyrics. But it is what it sounds now, the old style and was lost, and if you want that ring at a peak or a radio must join the move. If not, do not put. That's how it works. So until I'm recording a couple of urban champetas, with modern sound but with soukous, with the same trip, to try to keep the essence of champeta.
What else believes it lacks the genre to move forward?
Missing composers. In the champeta there many good composers and vallenato. I also believe that there is a lot of rivalry and is something that must be put aside."...
SHOWCASE VIDEO: La Turbina Champeta
Diego Lozano, TV Published on Oct 2, 2012
La turbina Elio Boom
The English translation of "la turbina" is "the turbine" (turbine engine), a reference to the oscillations of the dancers' butt and waist.
Selected comments from this video's discussion thread:
Note: Almost all of the comments on that discussion thread are in Spanish. I used Google translate from Spanish to English to translate most of those comments that are included below. Those translations are published after the original comment and are given "as is", even though some parts of the translation doesn't make sense to speakers & readers of standard English. Brief explanatory information is included with a few of these translations.
Those comments are given in chronological order based on their publishing date (except for replies) with the oldest dated comment given first. However, these comments may not be in consecutive order.
I assigned numbers for these comments for referencing purposes only.
1. Johan Mendoza
¿Aproximadamente de qué año será esta canción? Creo que debió ser una de las primeras adaptaciones del sukus (¿se escribe así?) a la terapia criolla."
"Approximately what year is this song? I think it must be one of the first adaptations of sukus (do you spell it?) To the Creole therapy.
2. esneider reines (2014)
"Amigo este temita salió más o menos por el año 94 o 95 se pegó firme en toda la región Caribe 👍👍 y es soukous"
This temita friend came out more or less in the year 94 or 95 hit firm throughout the Caribbean region and is soukous
3. Johan Mendoza
"+esneider reines Gracias por el dato hermano :)".
Thanks for the date brother
4. Alvaro MurDock
"Undelo Undelo!! motivo por el cual la población colombiana crecio un 70% en los ultimos 13 años xD Undelo Undelo Nada afuera Nada afuera!!"
Undelo Undelo !! why the Colombian population grew 70% in the last 13 years xD Undelo Undelo Nothing Nothing outside outside !!
[this is] why the Colombian population grew...
I think that this comment alludes to the notion that the music and/or dancing is so sensuous that people acting on their sexual instincts.
"Undelo" may be a form of the word "Andele". Here's a translation of that word from http://www.english-spanish-translator.org/general-spanish-english-translation/3035-andale.html: "Andale is a purely Mexican expression and they use it so widely. They use it either to say go for it! or to express satisfaction"...
5. Roronoa Zoro
"Jajajajaja ahora todo tiene sentido :v
Hahahaha now it all makes sense.
6. EL DISTANTE SOBRE NATURAL T.V
"LA PRIMER CHAMPETA QUE BAILE Y AUN LA BAILO"
THE FIRST CHAMPETA THAT THE DANCE DANCE AND YET
7. melissa paola Pedeaña
"unas de las primras champetas y no faltaban en ningun quinceañero"
one of the first champetas and not lacking in any quinceañero
"not lacking in any quinceañero" probably means that this record is always played at "quinceañeras". Here's an excerpt from Wikipedia about quinceañeras. "Quinceañeras...feminine form of "fifteen-year-old"), also called fiesta de quince años, fiesta de quinceañera, quince años, quinceañero or simply quince, is a celebration of a girl's fifteenth birthday in parts of Latin America and elsewhere in Latin American communities. This birthday is celebrated differently from any other as it marks the transition from childhood to young womanhood." https://en.wikipedia.org/wiki/Quincea%C3%B1era
"Esa champeta es mas omenos del 94o95,la canta elio boom un antioqueño del uraba.que hace tiempo no se de el y no volvio a grabar."
That champeta is more of 94o95 omenos, the boom elio sings one of uraba.que Antiochian not long ago and did not return to the recording.
9. may jaramillo silva
"as aquella juventud si me la disfrute con esos ritmos
tiempos que no volveran"
as youth that if I enjoy it with those rhythms
times that will not return
"Que diferente bailaban la champeta en esa epoca si huviera sido ahora fijo que la tipa queda preñá. Y por cierto que chevere fue esa epoca, la moda, la musica, el ambiente. todavia enamoraban a uno pue."
How different dance champeta at that time if it had been now fixed that the chick is PRENA. And indeed it was that time chevere, fashion, music, the environment. PUE one still fall in love.
11. SLR4C 89
"cambio extremo que sufrió la champeta, con la porquería que esta sonando actualmente, que no se si es champeta , dan-sal ,reggueton , bueno hay que ver que estos tiempos ya no tienen el sabor de hacer esos temas .......... sera seguir escuchando los viejos temas"
She suffered extreme change champeta with the crap that is currently playing, which is not if champeta, dan-salt, reggueton, well have to see that these days no longer have the taste to make these issues ...... .... will continue listening to the oldies
12. jose branda
"Alguien me podría decir que será la vida de este cantante"
Someone might tell me that will be the life of this singer
13. LUZ MERLY Camacho
"Actualmente es uno de los pioneros acá en la costa que lucha para que se hagan valer los derechos de la comunidad Afro."
Today is one of the pioneers here on the coast struggling to assert the rights of the Afro community are made.
14. Jaciel Torrado
"amo la champeta"
I love champeta
15. HOTEL 421
"please what is his name. very good!!!
"+Malembee1 Elio Boom"
warly murillo (2016)
"turbina - elio boom"
18. Peter OO
"Gracias Elio Boom por su gran aporte a la Cultura Colombiana"
Thanks Elio Boom for his great contribution wing Colombian Culture
19. yainer correa3 months ago
"esta es la mama de las chapetas"
Google translate gave the translation "This is the breast of chapetas."
I think a better translation is "This is the mother of the chapetas" (meaning other champetas came from this record).
20. Ana Milena Martinez Ortega
"está champeta salió en el año 1995 y recuerdo que la practicamos para una presentación del día de las brujitas y en octubre ese grupo vino acá a corozal y yo fuy a la presentación y era gratis la plaza de corozal se llenó y presentaron a la candidata de sucre yo estaba en sexto grado ,que tiempos"
This champeta came out in 1995 and I remember practicing for a presentation the day of witches and in October that group came here to corozal and I fuy the presentation and it was free Square corozal was completed and presented to the candidate sucre I was in sixth grade, that times
"+Ana Milena Martinez Ortega Y la bailó mi mamá Olga Piña en la tarima en Corozal con Elio Boom"
+ Ana Milena Martinez Ortega And my mom Olga Pina danced on stage in Corozal with Elio Boom
22. E-ruiz Ruiz M
"cuando esta canción salio yo estaba en básica primaria, recuerdo que los adultos de esa época bailaban este tema
claro los niños queríamos imitarlos y yo fui uno de los que aprendió mas rápido, me vieron bailando con una galladita de compañeras y compañeros y nos suspendieron por bailar la turbina !
jajajajaja que tal mi directora de esa época viera como es ahora se muere !!!"
when this song came out I was in elementary school, elementary adults remember that time danced this topic
clear the children wanted to imitate them and I was one of those who learned faster, they saw me dancing with a galladita of comrades and were suspended by the turbine dance!
such hahaha my director look like that time is now dying !!!
23. felix jhon monsalve gutierrez2 months ago
"esto estuvo de moda en champeta en venezuela po u n rato como champeta y de la buena como es"
this was fashionable in champeta in Venezuela by u n champeta and time as good as
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