Cumbia (Colombia) - Knowledge

964:

golpea, con las manos sobre el parche, hombres y mujeres, en gran rueda, pareados, pero sueltos, sin darse las manos, dando vueltas alrededor de los tamborileros; las mujeres, enflorada la cabeza con profusión, lustroso el pelo a fuerza de sebo, y empapadas en agua de azahar, acompañaban a su galán en la rueda, balanceándose en cadencia muy erguidas, mientras el hombre, ya haciendo piruetas, o dando brincos, ya luciendo su destreza en la cabriola, todo al compás, procuraba caer en gracia a la melindrosa negrita o zambita, su pareja... Era lujo y galantería en el bailarín dar a su pareja dos tres velas de sebo, y un pañuelo de rabo de gallo o de muselina de guardilla para cogerlas,... Los indios también tomaban parte en la fiesta bailando al son de sus gaitas, especie de flauta a manera de zampoña. En la gaita de los indios, a diferencia del currulao de los negros, los hombres y mujeres de dos en dos se daban las manos en rueda, teniendo a los gaiteros en el centro, y ya se enfrentaban las parejas, ya se soltaban, ya volvían a asirse golpeando a compás el suelo con los pies, balanceándose en cadencia y en silencio sin brincos ni cabriolas y sin el bullicioso canto africano, notándose hasta en el baile la diferencia de las dos razas... Estos bailes se conservan todavía aunque con algunas variaciones. El currulao de los negros, que ahora llaman mapalé, fraterniza con la gaita de los indios; las dos castas, menos antagonistas ya, se reúnen frecuentemente para bailar confundidas, acompañando los gaiteros a los tamborileros... Antes, estos bailes no se usaban sino en las fiestas de alguna de las advocaciones de la Virgen, y en la del santo patrono de cada pueblo, sólo en su pueblo; en la del carnaval y en alguna que otra notable. Ahora no hay en las provincias de la costa, arrabal de ciudad, ni villa, ni aldea, ni caserío donde no empiece la zambra desde las siete de la noche del sábado y dure hasta el amanecer del lunes...

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de una fogata, en el centro del círculo se colocaba a una mujer embarazada que era símbolo de la nueva vida, quien iniciaba una danza con el ritmo suave y melancólico de la flauta de millo, esta ceremonia se prolongaba por varias horas y terminaba por sumir en el más grande éxtasis a todos los que estaban allí reunidos y así nació la cumbia" (The tribes engaged in fishing and agriculture, in their funeral rituals, especially when someone in the hierarchy of the tribe died, gathered all members at nightfall around a campfire in the center of the circle stood a pregnant woman who was a symbol of new life, who started a dance with the soft and melancholic rhythm from flute of millo, this ceremony was prolonged for several hours and ended up plunging into the greatest ecstasy to all who were gathered there and cumbia was born). At the same meeting, José Barros said, product of the oral tradition received from the Indians: "The cumbia was born in funeral ceremonies that Chimillas Indians celebrated in the country of Pocabuy when one of its leaders died" (La cumbia nació en las ceremonias fúnebres que los indios Chimillas celebraban en el país de Pocabuy cuando moría uno de sus jerarcas). Barros also holds in relation to dance: "The idea of dancing in a circular motion has to do with the custom of the Chimilas Indians who danced around the coffin of one of their leaders, what they did counter-clockwise, what meant one-way trip). Daniels adds that the musical airs related to the origin of the cumbia "had their peak between Chymilas, Pocigueycas (Ponqueycas) and Pocabuyes, i.e., in the actual populations of Guamal, Cienaga and El Banco. Cumbia reached its development with the elements provided by Bemba colorá blacks and whites, cunning and canny.".

651:"Había un ancho espacio, perfectamente limpio, rodeado de barracas, barbacoas de secar pescado, altos cocoteros y arbustos diferentes. En el centro había una grande hoguera alimentada con palmas secas, alrededor de la cual se agitaba la rueda de danzantes, y otra de espectadores, danzantes á su turno, mucho más numerosa, cerraba á ocho metros de distancia el gran círculo. Allí se confundian hombres y mujeres, viejos y muchachos, y en un punto de esa segunda rueda se encontraba la tremenda orquesta... Ocho parejas bailaban al compás del son ruidoso, monótono, incesante, de la gaita (pequeña flauta de sonidos muy agudos y con solo siete agujeros) y del tamboril, instrumento cónico, semejante á un pan de azúcar, muy estrecho, que produce un ruido profundo como el eco de un cerro y se toca con las manos á fuerza de redobles continuos. La carraca (caña de chonta, acanalada trasversalmente, y cuyo ruido se produce frotándola á compás con un pequeño hueso delgado); el triángulo de fierro, que es conocido, y el chucho ó alfandoque (caña cilíndrica y hueca, dentro de la cual se agitan multitud de pepas que, a los sacudones del artista, producen un ruido sordo y áspero como el del hervor de una cascada), se mezclaban rarísimamente al concierto. Esos instrumentos eran más bien de lujo, porque el currulao de raza pura no reconoce sino la gaita, el tamboril y la curruspa. Las ocho parejas, formadas como escuadrón en columna, iban dando la vuelta á la hoguera, cogidos de una mano, hombre y mujer, sin sombrero, llevando cada cual dos velas encendidas en la otra mano, y siguiendo todos el compás con los piés, los brazos y todo el cuerpo, con movimientos de una voluptuosidad... 973:

men and women, formed a big wheel and danced in couples, but loose, without shaking hands, circling around the drummers; women, with flowers in their head, lustrous hair dint of sebum, and soaked in orange blossom water, accompanied her beau on the circle, swaying in very erect cadence, while the man, pirouetting, or prancing, and showing his skills, all the time, tried to ingratiate his zambita, his partner... It was gallantry in the dancer to give his partner two or three tallow candles, and a scarf to grab them ... the Indians also took part in the party dancing to their gaitas, a sort of flute. In the Indian gaitas, unlike the currulao of blacks, men and women held hand together in the circle, having the gaita players in the center, and couples faced, and were released, and they returned to hold hand hitting the ground with their feet, swaying in cadence and in silence without jumps or without the African singing, being noticed he difference of the two races even in the dancing ... These dances are preserved today with some variations. Currulao of blacks, who now called mapalé, fraternize with the gaitas of the Indians; the two castes, less antagonistic now, meet frequently to dance, accompanying the drummers and gaita players ... Before, these dances were just used at parties of Hail Mary, and the patron saint of each town, just in that town; in the carnival and some other remarkable parties. Now there is in the coastal provinces, city suburb or town, or village, or township were the party has not started at seven of Saturday and last until the dawn of Monday ...

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larger, close to eight meters away closing the greater circle. There, men and women, old and young were confused, and at one point of that second circle was the tremendous orchestra... Eight couples danced to the beat of that loud, monotonous, incessant son of the gaita (a small flute of very high pitch and with only seven holes) and the tamboril, conical instrument like a sugar loaf, very narrow, that produces a deep sound like the echo of a hill and is played with bare hands by continuous drumbeats. The carraca (a chonta reed, corrugated transversely and whose noise is produced by rubbing a small thin bone); the triangle of iron, which is known, and the chucho or alfandoque (cylindrical and hollow reed, filled with beads that are shaken by the jolts of the artist, it produces a dull and rough sound similar to the dash of a waterfall), they were oddly mixed in the concert. Those instruments were rather fancy, because the pure currulao knows nothing more than the gaita, the tamboril and the curruspa. The eight couples, formed as squadron in column, were turning around the bonfire, hand in hand, man and woman, hatless, carrying two burning candles each on the other hand, and following all the rhythm with their feet, arms and whole body, with movements of a voluptuousness...

1076:. This was because these genres were restyled by cosmopolitan orchestras and transformed into música tropical. Clarinetist Lucho Bermúdez helped bring cumbia into the country's interior by adding stylized orchestral arrangements to the rhythms of the genre. In other parts of Latin America orchestrated cumbia became popularized as música tropical. The early spread of cumbia internationally was helped by the number of record companies on the coast. Originally working-class populist music, cumbia was frowned upon by the elites. The implementation of stylized orchestras made it more acceptable and appealing to the elites and as it spread the class association subsided and cumbia became popular in every sector of society. The researcher Guillermo Abadía Morales in his "Compendium of Colombian folklore", Volume 3, # 7, published in 1962, states that "this explains the origin in the 907:

at least something similar. J. Barros says, "cumbia does not have a single hint of Africa. That's easy to check: the United States, which received so many thousands of black Africans does not have anything like cumbia in its folkloric manifestations. The same happens with the Antillean countries. I wonder why if the cumbia is African and entered through La Boquilla, like Manuel and Delia Zapata Olivella Dsay, in Puerto Tejada, for example, where there are also black people, and throughout the Pacific, cumbia is not a rhythm or appears in compositions ... I, who have been in contact with Pocabuyanos Indians since I was eight, who have had the opportunity since I was a child to interact with indigenous wome of 80 to 90 years telling her ritual, the cumbia ritual, I can certify the above, that the cumbia appeared every time the cacique died and they danced around the dead."

676:"El poeta y escritor Julio N. Galofre le cantó a la Cumbiamba; y al repasar yo esos cuartetos, que se publicarán alguna vez, me vienen a la memoria recuerdos de la niñez, cuando la popular mujer barranquillera, llamada La Cañón, ponía sus grandes ruedas de cumbiamba, allá por el año 1888, en las 4 esquinas de la calle Bolívar, callejón de California (hoy 20 de Julio), a donde concurría mucho público a ver la voluptuosidad del baile y el ritmo hondo y vigoroso de tambores, flautas y guarachas... Esto sí es cosa de la vieja Barranquilla, como resuena también en mis oídos el comienzo de un canto popular, cuando un señor Carrasquilla tenía en competencia otra cumbia por el barrio arriba, como entonces llamaban la parte sur de la ciudad: 692:"The poet and writer Julio N. Galofre sang to the Cumbiamba; and on reviewing those quartets, to be published sometime, memories of my childhood come to mind, when the popular woman from Barranquilla, called La Cañón, created her huge cumbiamba circles back in 1888, at the 4 corners of Bolivar street, California alley (today 20 de Julio). A large audience attended to see the voluptuousness of the dance and deep and vigorous rhythm of drums, flutes and guarachas... This really is a thing of the old Barranquilla, like how the beginning of a popular song resounds in my ears, when a Mr. Carrasquilla had another competing cumbia in the Arriba neighborhood, as they then called that part of the city: 736: 1769:

sus Maracaibos. Since the early 60s', the Cumbia Peruana has had great exponents. While initially had strong influences from Colombian cumbia, over time it has achieved a unique and distinctive style with shades or rhythms influenced by rock, Huayno, native dances of the jungle, waltz, bolero, merengue, salsa, etc., we can say that it is continually changing or evolving. The rhythm was understood soon in all regions of the country, prompting some groups to introduce some Peruvian musical elements, making electric guitars protagonists. Contributions from Peru to the cumbia are interpretation, compositions and variations like Tropical

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pocigueycas and pocabuyes in the territories of the current populations of Guamal, Ciénaga and El Banco, with the primitive cumbia gaita, based on the report sent by the perpetual governor Lope de Orozco to the king in 1580, about the Province of Santa Marta, which recounts that "los yndios i yndias veben y asen fiestas con una caña a manera de flauta que se meten en la boca para tañer y producen una mucica como mui trayda del infierno" (The Indians drink and party with a cane that is used as a flute, which they put in their mouths to be played and that produces a music that seems to come from the very hell) (sic).

577: 1416:, etc. However how Cumbia is seen and performed has already shifted from the way it was viewed and done traditionally. As a result of “correlajes”, Bogota saw Cumbia as a way to bring in Caribbean culture and place it in the “image of the country”. This changed the perspective of how Cumbia was seen by the elites as it became a part of heritage and culture. Another factor that was changed about traditional Cumbia is that Cumbia used to be “an exclusively instrumental genre” however as the time passed they started to add vocals to this music. 1325: 1460:, (shanty towns, and slums); lyrics typically glorify theft and drug abuse. Undoubtedly the most refined version of Argentine cumbia is called Santa Fe cumbia or cumbia with guitar. In this style the main instrument is the guitar and its compositions are more complex. In the Santa Fe cumbia schemes of two or three simple chords and lyrics about dancing are abandoned, and melancholy lyrics and atypical chords are explored. Its creator, 1133: 36: 1333: 1250: 101: 704:

trumpets, congas, and the accordion” as well as other instruments native to the region. This is an important aspect of Cumbia because it helps understand why the Indigenous and Afro-Colombians are both inventors of Cumbia. These instruments are also a big part of the Cumbia as they are what originally built the rhythm and styling pattern of the traditional music.

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For the writer Jocé G. Daniels, is "ironic" that people have "tried to foist a Kumbé Bantú origin to cumbia." Researchers question that if the cumbia came from African rhythms, in other parts of America where blacks came from all over Africa as slaves, as the United States, there should be cumbia, or

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However Cumbia is much more than just a dance; it is “practica cultural” (cultural practice). Cumbia is an umbrella term, and much like vallenato there are many subcategories. The subcategories are many like music, dance, rhythm, and genre. The genre aspect can be split into two things; Cumbia is a “

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Para la gente pobre, libre y esclavos, pardos, negros, labradores, carboneros, carreteros, pescadores, etc., de pie descalzo, no había salón de baile... Ellos, prefiriendo la libertad natural de su clase, bailaban a cielo descubierto al son del atronador tambor africano, que se toca, esto es, que se

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songwriter Antonio Garcia presented in 1997 the following theory about the birth of cumbia: "Las tribus dedicadas a la pesca y la agricultura, en sus rituales fúnebres, especialmente cuando moría algún miembro de la alta jerarquía de la tribu, todos los miembros se reunían al caer la noche alrededor

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The orchestra is really native and consists of a guy who plays a bamboo clarinet about four feet long, like a gaita, with five holes, through which escapes the sound; another that plays a similar instrument, with four holes, for which he only uses his right hand because the left has a small pumpkin

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izquierda tiene una calabaza pequeña llena de piedrecillas, o sea una maraca, con la que marca el ritmo. Este último se señala aún más con un tambor grande hecho en un tronco ahuecado con fuego, encima del cual tiene un cuero estirado, donde el tercer virtuoso golpea con el lado plano de sus dedos.

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La orquesta es realmente nativa y consiste en un tipo que toca un clarinete de bambú de unos cuatro pies de largo, semejante a una gaita, con cinco huecos, por donde escapa el sonido; otro que toca un instrumento parecido, provisto de cuatro huecos, para los que solo usa la mano derecha, pues en la

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No era noche de luna la del 18 de junio de 1821; pero la pintoresca población de Arjona ostentaba la más pura serenidad en el cielo tachonado de estrellas, y en el alegre bullicio de las gaitas y cumbiambas con que festejaban los indígenas, al abrigo de las armas republicanas, la aproximación de la

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Peruvian cumbia, particularly from the 1960s to mid-1990s, is generally known as "Chicha", although this definition is quite problematic as both Peruvian cumbia and Chicha currently co-exist and influence each other (good examples include Agua Marina's popular cover of Los Eco's "Paloma Ajena" and

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Peru, like other American countries, was invaded by the first cumbia recordings made in Colombia from the north and from the capital. During the mid-1960s began to appear on national discography from various music labels like Virrey, MAG, and Iempsa, orchestras like Lucho Macedo and Pedro Miguel y

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However, how Cumbia is seen and performed has already shifted from the way it was viewed and done traditionally. As a result of “correlajes”, Bogota saw Cumbia as a way to bring in Caribbean culture and place it in the “image of the country”. This changed the perspective of how Cumbia was seen by

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For poor people, free and slave, browns, blacks, farmers, coal miners, carters, fishermen, etc., standing barefoot, there was no ballroom... They preferred the natural freedom of their kind, danced under the open sky to the sound of thunderous African drum, played hitting the patch with the hands,

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There was a wide space, perfectly clean, surrounded by barracks, barbecues used to dry fish, tall coconut trees and various bushes. In the center there was a large bonfire fed with dry palms, around it the circle of dancers hopped, and another circle of spectators, dancers at their own turns, much

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Carl August Gosselman in Santa Marta, and recorded in his work "Viaje por Colombia: 1825 y 1826" (Journey through Colombia: 1825 and 1826) as proof that at least in the second decade of the nineteenth century the gaita ensemble existed already in Santa Marta, the same that appears in Cartagena and

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It was a night without the moon, that of June 18, 1821; but the picturesque town of Arjona showed the purest serenity in the starry sky, and the cheerful bustle of gaitas and cumbiambas with which the indigenous people celebrated, sheltered from the republican arms, the approach of the festival of

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y su zona de influencia, como parte del Magdalena Grande, debe ser incluido también dentro del territorio donde nació el vallenato, con cunas discutibles como Plato, Valledupar, Riohacha, El Paso y la Zona Bananera. Además de que, indiscutiblemente, es la zona de origen de la cumbia, nacida en la

1011:... It was another of those musical forms born from collective work, like the one of the oarsmen that in the navigation activity was the root of cumbia or the r of the 'socoladores' (people who cleared a zone of trees), called 'zafra' in some places, and that died after exhausting the sources, ... 910:

In turn, the Africanists place the emergence of the cumbia to contact the black slaves with Indians in ports like Cartagena, Ciénaga, Santa Marta and Riohacha, mainly in the first, during the celebrations of the Virgen de la Candelaria. The Afro-Colombianists dispute the origin of cumbia, and the

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The cumbia is the most representative dance of the coastal region in Colombia, and is danced in pairs with the couple not touching one another as they display the amorous conquest of a woman by a man. The couple performing cumbia dances in a circle around a group of musicians, and it involves the

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In 1998, in his article "La cumbia, emperadora del Pocabuy" (La cumbia, Empress of Pocabuy) the writer Jocé G. Daniels theorizes that the cumbia was "el aliciente espiritual de los indios" (the spiritual attraction of the Indians) to associate the flutes used in the celebrations of the Chimilas,

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Nicaragua became a stronghold of Cumbia music during the 1950s and 1960s. The country has its own variation of cumbia music and dance. Mostly known for its cumbia chinandegana in the Northwestern section of the country, it has also seen a rise in cumbia music artists on the Caribbean coast like

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that he tries to put on the woman's head as a representation of amorous conquest. This dance is originally made to depict the battle that the “black man had to fight to conquer an indigenous woman”. The story continues and the dance shows that this leads to a new generation and is depicting the

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The cultural researcher A. Stevenson Samper refers to the work of General Joaquin Posada Gutierrez, "Fiestas de la Candelaria in La Popa" (1865), where the music and dance of the festivities of the Virgen de la Candelaria described in Cartagena and relates the following description with cumbia

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The original instruments used for the Cumbia were groups of “gaitas and the ones of flauta de millo”. There are also many drums and other wind-like instruments that were used to create this music in the old days. To fill in the background of the music nowadays the musicians use “electric bass,

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Pablo Lescano, ex-member of Amar Azul and founder of Flor Piedra and Damas Gratis is known to be the creator of the cumbia villera "sound". However, a lighter form of cumbia enjoyed widespread popularity in Argentina during the 1990s. Antonio Rios (ex-Grupo Sombras, ex-Malagata) is a good

1003:...Era otra más de las formas musicales nacidas del trabajo colectivo, como aquella de los bogas que en la actividad de la navegación fue la raíz de la cumbia o aquella otra de los 'socoladores', llamada 'zafra' en algunos lugares, y que murió al agotarse la fuente matriz inspiradora,... 3253: 1241:(municipality located in the territory of the former nation of Pocabuy), Alex Ricardo Rangel Arismendi, promotes the project to declare the cumbia as Intangible Cultural Heritage of the Nation Colombiana. Cumbia has been declared national heritage of Colombia in October 2022. 535:

Sociologist Adolfo Gonzalez Henriquez, in his work "La música del Caribe colombiano durante la guerra de independencia y comienzos de la República" (Music of the Colombian Caribbean during the war of independence and the beginning of the Republic), includes a text of Admiral

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The musician and pedagogue Luis Antonio Escobar, in the chapter "La mezcla de indio y negro" (The mixture of Indian and black) of his book "Música en Cartagena de Indias" (Music in Cartagena de Indias) takes the description of Indian dance who witnessed the navy lieutenant

1044:...Esta primera transición instrumental es difícil de precisar en el tiempo, pero se percibe claramente todavía hacia finales del siglo XIX, cuando sones, puyas y tamboras se escuchaban a orillas de los ríos en flautas y en pitos cruzados con el nombre genérico de cumbia. 1088:

ethnic groups, respectively, and the cheerful and impetuous resonance from the African drums. The ethnographic council has been symbolized in the different dancing roles that correspond to each sex." The presence of these cultural elements can be appreciated thus:

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which was like the historical lesson that, after being heard and repeated many times, remained in the memory of all listeners. The center of the circle was occupied by those who gave the lesson singing and those more proficient in handling guacharacas, millos,

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En 1921, el presidente del Concejo Municipal Simón Bossa expide el Acuerdo No 12 en el que «queda prohibido en la ciudad y en los corregimientos del Pie de la Popa, Manga, Espinal, Cabrero, Pekín, Quinta y Amador, el baile conocido con el nombre de cumbia o

1052:... This first instrumental transition is difficult to pinpoint in time, but still clearly perceived in the late nineteenth century, when sones, puyas and drums were heard on the banks of the rivers crossed flutes and whistles with the generic name cumbia. 1031:

Mompox and its area of influence, as part of the Magdalena Grande should also be included within the territory where the vallenato was born, with disputable cradles as Plato, Valledupar, Riohacha, El Paso and the Zona Bananera. Besides, undoubtedly, it is

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with "La cumbia folclórica", "Salvadoreñas" and "La bala". The Guatemalan orchestra "Marimba Orquesta Gallito" is the most famous between cumbia marimbera bands/orchestras. From Mexico, there are orchestras like "Marimba Chiapas" and "Marimba Soconusco".

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in El Banco, Magdalena. The festival was created by one of the most important Colombian Cumbia composers, Jose Barros, in order to preserve the original rhythms of traditional Cumbia music. Modern forms of cumbia are also combined with other genres like

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In 1921, City Council President Simon Bossa issued the Agreement No. 12 in which "is prohibited in the city and in the districts of Pie de la Popa, Manga, Espinal, Cabrero, Pekín, Quinta and Amador, the dance known by the name of cumbia or mapalé ...

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the elites as it became a part of heritage and culture. Another factor that was changed about traditional Cumbia is that Cumbia used to be “an exclusively instrumental genre”. However, as time passed, they started to add vocals to this music.

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full of pebbles, a maraca, that sets the pace. The rhythm is marked even more with a large drum made in a fire-hollowed trunk, on top of which there is a stretched hide, where the third virtuoso hits the flat side of his fingers.

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A los sonidos constantes y monótonos que he descrito se unen los observadores, quienes con sus cantos y palmoteos forman uno de los coros más horribles que se puedan escuchar. En seguida todos se emparejan y comienzan el baile.

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In the description of the writer José María Samper during his trip down the Magdalena River in 1879, the constituent elements of dance and music on the Magdalena River, instruments and elements of dance cumbia are identified:

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To the constant and monotonous sounds that I have described already join the observers, who with their singing and clapping form one of the most horrible choirs that can be heard. Then all pair up and start dancing.

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The 1960s was a very fruitful time in the Colombian music industry, beginning with the founding of Discos Fuentes in 1934, the Discos Sonolux in 1949 and soon after Discos Victoria. Since the 1940s, orchestras like

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Sixteen contestants, represented by the various towns in the Department of Atlantico, competed for the title and had an opportunity to represent the Department of Atlantico in the Festival de la Cumbia in Banco,

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woman holding lit candle(s) in her right hand that she uses to push the man away while she holds her skirt in her left. During the dance, the partners do not touch each other, and the man dances while holding a

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In the afternoon of the second day they were preparing a large indigenous dance in the village. The dance floor was the street, bounded by a narrow circle of spectators surrounding the orchestra and dancers.

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Traditional cumbia is preserved and considered representative of the Colombian identity, especially on the northern Caribbean coast. The best representation of traditional Cumbia is shown every year on the

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español, aunque daba la impresión de asemejarse más a una parodia. Tenía todo lo sensual de él pero sin nada de los hermosos pasos y movimientos de la danza española, que la hacen tan famosa y popular.

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Nowadays, Cumbia is gaining new attention as a result of emergence of acts formed by younger musicians usually labelled as "La Nueva Cumbia Chilena" (The new Chilean Cumbia), including bands such as

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Abadía, Guillermo. Compendio general del folclor colombiano. 1983 4a ed., rev. y acotada. 547 p.: ill.; 22 cm. Bogotá: Fondo de Promoción de la Cultura del Banco Popular. (3. ed en 1977).

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Por la tarde del segundo día se preparaba gran baile indígena en el pueblo. La pista era la calle, limitada por un estrecho círculo de espectadores que rodeaba a la orquesta y los bailarines.

3554: 838:. The Pocabuy are mentioned in several recordings, although the most famous mention corresponds to the chorus of the song "Cumbia de la paz" (Cumbia of peace) recorded by "Chico" Cervantes: 1203:

is the scenario of multiple cumbia performances and contests ; the main stage of the parades, Vía 40 Avenue, is called the "cumbiódromo" during the days of carnival, in analogy to the

3219: 934:. The Africans who arrived as slaves to those regions, to tell the story of their ethnic groups and those famous deeds worthy to be stored in memory, used certain songs that they called 642:, although it seemed to be more like a parody. It had every sensual detail from the Spanish dance but without any of its beautiful steps and movements, that make it so famous and popular. 3344: 3164:"Por medio de la cual se reconoce como patrimonio cultural de la Nación al Festival Nacional de la Cumbia José Barros de El Banco, Magdalena y se dictan otras disposiciones" 3569: 3306: 2457: 1954: 1625:, and Villa Cariño, among others. These new bands offer some of the classic tones and sounds of Chilean cumbia blended with rock or other folk Latin American styles. 3130: 1667:

In the 1940s, the Colombian singer Luis Carlos Meyer Castandet emigrated to Mexico, where he worked with the Mexican orchestra director Rafael de Paz. Their album

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are also very popular acts, although they perform a more traditional style of Chilean cumbia, in some extend related to the style that dominated during the 1990s.

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Zapata Olivella, Delia. La cumbia, síntesis musical de la Nación colombiana. Reseña histórica y coreográfica. Revista Colombiana de Folclor 3, no. 7:187-204. 1962

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Music in Latin America and the Caribbean: An Encyclopedic History: Volume 1: Performing Beliefs: Indigenous Peoples of South America, Central America, and Mexico

951:, to sing with delicacy the music of those songs that suffer a transformation, with time, from being elegiac to exciting, gallant, complainant and amusing. 2410: 2005: 1123:, lace, sequins, hoop earrings, flower headdresses and intense makeup for women; white shirt and pants, knotted red shawl around the neck and hat reckless 3776: 2780: 2760: 3103: 2832: 2303: 712:

The origin of cumbia has been the subject of argument between those who attribute an indigenous ethno-musical origin, geographically located in the

396:

complex mix of genres with a caribbean-colombian air in binaria subdivision” and “a category of music for Colombian music with a Caribbean flavor”.

2609: 1867:

and to the emigration of Colombians. Two of the oldest Venezuelan tropical orchestras that begin to perform and record cumbia in the country were

3227: 4964: 735: 3068: 3445: 2970: 2736: 2698: 2100: 1566:, a Venezuelan singer, achieved success with songs like "Macondo" or "La Piragua" and when the Colombian Amparito Jiménez recorded in Chile " 403:, and many countries have had their own variants of cumbia after which it became popular throughout the Latin American regions, including in 3038: 2840:. Foro de Políticas Culturales para el Desarrollo de Cartagena y Bolívar. Agencia Españolas de Cooperación Internacional para el Desarrollo 767: 1464:, is considered a hero of the local music. His creation became popular in 1978 with his album "A mi gente" and the band "Los del bohío". 1404:, among other. This led local musicians to give rise to variants of cumbia as a result of its fusion with rhythms of each nation such as 4949: 3608:

Ballanoff, Paul A. Origen de la cumbia Breve estudio de la influencia intercultural en Colombia. América lndígena 31, no 1: 45-49. 1971.

3366: 1500:(Percussion instrument made of native wood from Guatemala) as this instrument was developed in the region, extending its use to much of 1204: 3638: 4944: 4939: 3314: 2774: 1706:

emigrated to Mexico, where he joined the Guerrero group La Luz Roja de San Marcos and recorded many popular tropical cumbias, such as

1520:. Since the early 1940s, several Central American composers created music pieces using the rhythm of cumbia giving an original touch. 815: 3280: 3599: 3014: 902:, Tamalameque, Guamal and Chimi. Pocabuy was an indigenous country that extended throughout the Tucurinca river (current Magdalena). 78: 2329: 2917: 2149: 2131: 4160: 3670: 886:, Tamalameque, Guamal y Chimí. Pocabuy era un país indígena que se extendía a todo lo largo del río Tucurinca (actual Magdalena). 3566: 2472: 4954: 955:

circle. The anthropologist Nina S. de Friedemann uses the same text to explain the configuration of cumbia within the scope of

713: 45: 2769:(in Spanish). Santa Fe de Bogotá : Instituto de Genética Humana. Pontificia Universidad Javeriana. Facultad de Medicina. 1683:. Música tropical, particularly Colombian cumbia and porro began to become popular in Mexico combined with local sounds, with 552:

between the last Spanish resistance and the republican army, military confrontation that sealed the independence of Colombia:

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conjugation of musical air by the fusion of the melancholy indigenous gaita flute or caña de millo, i.e., Tolo or Kuisí, of

580:

Children playing cumbia instruments. Notice the gaita, maracas, instruments mentioned by Gosselman in his historical record.

470:

Most Hispanic American countries have made their own regional version of Cumbia, some of them with their own particularity.

4906: 1353: 3138: 3627: 1258: 795: 137: 977:

At least until the 1920s, the terms cumbia and mapalé designated the same rhythm in the area of Cartagena de Indias:

1834: 1777:

Grupo Nectar's cover of Guinda's "Cerveza, Ron y Guinda"). Peruvian cumbia started in the 1960s with groups such as

672:

historian Miguel Goenaga barranquillero describes the cumbia and its cumbiamba circles in Barranquilla around 1888:

3617:

Pombo Hernándes, Gerardo. Kumbia, legado cultural de los indígenas del Caribe colombiano. Editorial Antillas, 1995.

1349: 576: 3594:

Ocampo, Javier. Música y folclor de Colombia. Enciclopedia Popular Ilustrada, No. 5. Bogotá, Plaza y Janés. 2000.

3516:"Roots of Digital Cumbia in Sound System Culture: Sonideros, Villeros, and the Transformation of Colombian Cumbia" 2535: 2016:

Cheville, Lila, Festivals and Dances of Panama, Panamá: Litho Impresora Panamá, 1977. 187 p.; 22 cm. Page 128-133

4405: 3762: 1993: 1875:. The most significant contributions have been creating Venezuelan cumbia styles using melodic organs and harps. 1312:, there has been growing interest among young and middle-aged people in "rescuing" the masterpieces of the '50s. 1230:

declared the National Festival of the Cumbia Jose Barros of El Banco, Magdalena cultural heritage of the Nation.

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To researchers of indigenous cultures, the ethno-musical mixture that gives rise to the cumbia occurs during the

537: 207: 2416: 2233: 1339:, a Chilean cumbia band. The image shows the classic instrumentation of the international variants of the genre. 4913: 1806: 1798: 1540: 1450:, a Colombian band nationalized Argentine. The country has contributed musical compositions and own variations 1200: 1056:

On April 16, 1877 La Cumbia Soledeña was founded, one of the most distinguished and traditional cumbia groups.

483: 1671:

is considered the first cumbia recorded outside Colombia. Meyer Castandet also recorded other hits, including

1570:", among other songs. Cumbia is one of the most popular dance forms in Chile. They have a style of their own, 516: 2764: 1116:

Presence of sensual movements, distinctly charming, seductive, characteristic of dances with African origins.

4959: 4727: 4015: 3743: 3484: 3410: 3107: 3006: 2209: 1897: 1872: 1587: 1443: 1336: 1186: 337: 1642: 4533: 3632: 2356: 1934: 1794: 1622: 1528: 49: 4815: 1646: 1544: 1536: 1094: 4820: 3995: 3042: 2950: 2615: 2080: 1583: 479: 2951:"Chapter 1. Cumbia Music in Colombia: Origins, Transformations, and Evolution of a Coastal Music Genre" 2807: 2803: 2081:"Chapter 1. Cumbia Music in Colombia: Origins, Transformations, and Evolution of a Coastal Music Genre" 1567: 1461: 1447: 1413: 1270: 1175: 803: 791: 1614: 545: 4390: 3967: 3924: 3663: 3460: 1974: 1964: 1618: 1563: 1524: 1434:, who in 1946 recorded for RCA Víctor in Argentina 60 of his compositions with musicians provided by 1273: 1238: 1227: 1164: 1160: 1141: 1019: 956: 899: 883: 799: 787: 779: 748: 1770: 1532: 4752: 4747: 4410: 4070: 3591:

Davidson, Harry. Diccionario folclórico de Colombia. Tomo III. Banco de la República, Bogotá, 1970.

3076: 1949: 1476:

The cumbia sound from Bolivia usually incorporates Afro-Bolivian Saya beats and Mexican influenced

1439: 1357: 912: 895: 879: 771: 759: 744: 721: 549: 2704: 1802: 1684: 1610: 1562:

In Chile, cumbia was also introduced by recordings made in Colombia. Chilean cumbia was born when

4692: 4653: 4085: 3708: 2976: 2106: 2058: 1939: 1907: 1858: 1829:. These groups would be classified as Cumbia but often take songs and techniques from Chicha and 1814: 1782: 1734: 1650: 1557: 1373: 823: 729: 717: 248: 4620: 4332: 4318: 4180: 2285:"La música del Caribe colombiano durante la guerra de independencia y comienzos de la República" 1842: 1818: 1602: 1266: 1040:

On the transition of whistles and flutes to the current vallenato instruments, the author says:

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https://www.gvsu.edu/cms4/asset/1B720723-B3DE-4861-0CF794BF85CC2A06/la_cumbia_colombiana_05.pdf

1773:; thanks to the contribution of Peruvian cumbia, this genre is known throughout South America. 4810: 4340: 4255: 4140: 4062: 3595: 3537: 3441: 3010: 2966: 2770: 2732: 2295: 2259: 2229: 2096: 2050: 1699:, Mexican Andean Cumbia, and Cumbia sonidera, which uses synthesizers and electric batteries. 1380:

using as the main instrument electric guitars. Thanks to this it becomes much better known in

1324: 1064:

By the 1940s cumbia began spreading from the coast to other parts of Colombia alongside other

931: 732:

and historians as Gnecco Rangel Pava, and the latter by the folklorist Delia Zapata Olivella.

387: 1863:

Since the 1950s the cumbia has great success and impact in Venezuela due to its proximity to

1826: 4672: 4145: 4080: 4045: 4040: 3895: 3688: 3527: 3000: 2958: 2169: 2161: 2088: 2042: 1892: 1868: 1425: 1405: 1298: 1102: 1015:

Referring to the site of origin of vallenato, Quiroz notes on the site of origin of cumbia:

783: 639: 541: 369: 298: 243: 151: 114: 3501: 4934: 4784: 4772: 4757: 4702: 4697: 4568: 4548: 4518: 4498: 4466: 4420: 4375: 4308: 4288: 4283: 4260: 3827: 3718: 3713: 3656: 3573: 1902: 1763: 1575: 1501: 1377: 1262: 1182: 819: 487: 342: 332: 3515: 2193: 1810: 1302: 2333: 17: 4794: 4789: 4722: 4687: 4583: 4510: 4446: 4415: 4370: 4360: 4345: 3913: 3890: 3842: 3738: 3703: 3337:"Que la cumbia sea Patrimonio Inmaterial de la Nación, buscan autoridades en Magdalena" 3192: 2890: 2508: 2189: 1969: 1929: 1884: 1738: 1703: 1688: 1662: 1598: 1451: 1435: 1431: 1409: 1345: 1208: 1152: 740: 324: 238: 178: 172: 119: 2458:"La Cumbia: Síntesis Musical de la Nación Colombiana, Reseña Histórica y Coreográfica" 1192:

Festival de Cumbia Autóctona del Caribe Colombiano: celebrated yearly in Barranquilla.

1132: 4928: 4875: 4865: 4578: 4553: 4528: 4441: 4400: 3957: 3885: 3855: 3850: 2980: 2213: 2110: 1778: 1730: 1456: 1369: 1110: 919: 811: 456: 400: 124: 4543: 3754: 2165: 1594:

in the mid-2000s, losing part of the preferences of the popular sectors of society.

1539:

with "A bailar con Rosita", "Entre ritmos y palmeras" and "Suenan los tambores" and

1223:

as a cultural symbol of Colombia, being in the position twelve of fifty candidates.

725: 724:

or even in Africa itself. The first, represented by personalities like the composer

4880: 4461: 4456: 4355: 4350: 4293: 4190: 4130: 4107: 3949: 3919: 3794: 3786: 2834:

Políticas culturales para Cartagena de Indias: Antípodas para una cultura proscrita

1838: 1742: 1692: 1294: 669: 548:, a few days before the naval battle that took place in the Bahía de las Ánimas of 399:

Since the 1940s, commercial or modern Colombian cumbia had expanded to the rest of

60: 4603: 3972: 1446:

move to Argentina and popularizes cumbia in the country; the same was done by the

1034:

the area of origin of the cumbia, born in the region of the ciénaga de Zapatosa'

4901: 4845: 4825: 4717: 4677: 4632: 4610: 4598: 4588: 4471: 4385: 4303: 4275: 4207: 4202: 4150: 4000: 3962: 3880: 3875: 3807: 3733: 3693: 1919: 1509: 1477: 1385: 1309: 1293:

or rock. This mixing of genres is found in the music of modern artists, such as

1290: 1085: 1081: 424: 269: 4885: 4767: 4712: 4627: 4615: 4380: 4365: 4050: 4035: 4005: 3977: 3870: 3728: 3367:"Cumbia, traditional dance and music genre, now national heritage of Colombia" 2962: 2092: 1841:

and cumbia. This style has even become popular in Mexico, as some groups like

1822: 1790: 1786: 1630: 1365: 1332: 416: 274: 212: 100: 3541: 2587: 2299: 2054: 2006:

The Cumbia – Drumset Adaptations of a Traditional Colombian/Panamanian Rhythm

1837:

was a Peruvian-Mexican cumbia group. Andean Cumbia, is a style that combines

4649: 4483: 4436: 4395: 4313: 4122: 4112: 4090: 4010: 3987: 3934: 3929: 1959: 1591: 1517: 1505: 1401: 1381: 1286: 1073: 996: 494:"to dance", or any other of the many Bantu words with "comb" or "kumb". Cf. 464: 440: 428: 404: 56: 4860: 4840: 4779: 4563: 3485:"Terra - Notícias, esportes, coberturas ao vivo, diversão e estilo de vida" 1249: 1171: 995:

Regarding the cantares de vaquería (cowboy songs) as one of the origins of

822:

slaves and, on a lesser extent, of Spaniards, as referred by it historians

3644:

Report about Karval , by Musico independiente de artista cumbia colombiana

3254:"Cierre de vías por VI Festival de Cumbia Autóctona del Caribe Colombiano" 1454:, which resonates particularly with the poor and marginalized dwellers of 590:

other coastal cities with black musical elements that resulted in cumbia:

4762: 4593: 4573: 4558: 4538: 4493: 4298: 4245: 4222: 4212: 4175: 4135: 4097: 3939: 3900: 3865: 3860: 3822: 3812: 1864: 1626: 1606: 1579: 1513: 1156: 1137: 918:

Some authors assume that the black element in cumbia comes from cumbé, a

606: 448: 432: 378: 374: 217: 197: 192: 4850: 4830: 4197: 4170: 4102: 4075: 3802: 3532: 3471: 3220:"Para bailar cumbia hay que hacerlo con el alma: Rosell Escorcia Pérez" 3170:, Senado de la República de Colombia, December 27, 2013, archived from 2539: 1696: 1590:. However, Cumbia's popularity has been declining since the success of 1497: 1489: 1393: 1120: 999:, the cultural and musical researcher Ciro Quiroz states about cumbia: 948: 523:

is "still controversial" and that "seems to derive from the Bantu word

499: 460: 420: 408: 187: 2174: 2062: 2030: 540:

which records cumbiambas and indigenous gaitas during the festival of

4664: 4523: 4478: 4451: 4229: 4217: 4185: 3817: 2384:

Adlai Stevenson Samper (19 November 2012). "La música del Carnaval".

1924: 1830: 1493: 1389: 1234: 1216: 1212: 775: 586: 512:

Cumbia was also a kind of fine woolen garment produced for the Inca.

444: 436: 360: 202: 1195:

Festival de Bailadores de Cumbia: celebrated yearly in Barranquilla.

2046: 1574:, and some of the most successful orchestras of this genre include 814:, north to Pincoya), product of the musical and cultural fusion of 4855: 4835: 4707: 4644: 4639: 4488: 4265: 4250: 3907: 3832: 3723: 3461:

https://www.redalyc.org/journal/2790/279063789018/279063789018.pdf

1397: 1323: 1248: 1106: 1077: 1069: 944: 927: 923: 734: 495: 412: 157: 938:, which means "dance singing": putting up candles, they sang the 4870: 1361: 1170:

Festival Nacional de la Cumbiamba: that is celebrated yearly in

452: 3758: 3652: 3605:

Revista Colombiana de Folclore. No. 7, Vol. III. Bogotá, 1962.

1944: 1729:

Other popular Mexican cumbia composers and performers include

1113:

are a contribution of Spanish poetics, although adapted later.

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región de la ciénaga de Zapatosa bajo su antigua jurisdicción.

29: 3002:

Oye Como Va!: Hybridity and Identity in Latino Popular Music

2949:

Fernández L'Hoeste, Héctor; Vila, Pablo, eds. (2020-12-31),

2079:

Fernández L'Hoeste, Héctor; Vila, Pablo, eds. (2020-12-31),

3307:"Buscan que la cumbia sea Patrimonio Cultural de la Nación" 2355:

Carl August Gosselman (1981). "Capítulo III: Santa Marta".

2215:

Vocabulario y tesoro de la lengua Guarani (ó mas bien Tupi)

1813:. Some musical groups that play Peruvian cumbia today are: 1641:

In El Salvador, Cumbia was performed by Orchestras such as

1163:. It was declared a cultural heritage of the nation by the 478:

Most folklorists and musicologists, such as Narciso Garay,

1376:

who were some of the first to give a proper rhythm to the

1215:

cities. In 2006, the cumbia was nominated by the magazine

3648: 3472:

Mexican Cumbia's section, Website of Cuarteto Continental

2728:

Instrumentos musicales de las etnias de Guinea Ecuatorial

2195:

A Comparative Study of the Bantu and Semi-Bantu Languages

1468:

representative of the Argentinian cumbia from the 1990s.

770:

in the native country of Pocabuy (current populations of

3643: 894:

The cumbia was born in the country of Pocabuy formed by

3392: 3193:"Cereté baila con su festival nacional de la cumbiamba" 3104:"Festival Nacional de la Cumbia José Barros Palomino" 1523:

Among the main drivers of the cumbia are Nicaraguans

878:

La cumbia nació en el país de Pocabuy conformado por

3614:

Rangel Pava, Gnecco. Aires guamalenses. Kelly, 1948.

2440:

Lecturas locales – Crónicas de la vieja Barranquilla

1328:

The diverse types of cumbia throughout Latin America

1269:

and riverine populations, with its epicenter in the

4894: 4803: 4740: 4663: 4509: 4429: 4331: 4274: 4238: 4159: 4121: 4061: 4028: 3986: 3948: 3841: 3793: 2198:, vol. 1, Oxford, Clarendon Press, p. 531 2150:"La cumbia en Colombia: Invención de una tradición" 289: 257: 226: 143: 133: 107: 93: 3247: 3245: 2614:. Ministerio de educacion nacional. Archived from 2581: 2579: 2577: 2575: 1955:Latin Grammy Award for Best Cumbia/Vallenato Album 728:, writers like Jocé G. Daniels, sociologists like 2766:La Saga del Negro: Presencia africana en Colombia 2761:"Huellas de africanía y emblemas de nacionalidad" 1364:, where it became more known with groups such as 2891:"Efraín Mejía Donado, de cumbiambero a Rey Momo" 2031:"An Introduction to the Folk Dances of Colombia" 1488:In the south and southeast of Mexico (states of 1119:The vestments have clear Spanish features: long 3039:"Cumbia: The Musical Backbone Of Latin America" 2700:Huellas de africanía y emblemas de nacionalidad 1050: 1042: 1029: 1017: 1009: 1001: 988: 979: 970: 961: 892: 876: 858: 840: 690: 683:Miguel Goenaga, Lecturas locales (1953), p. 396 674: 657: 649: 624: 592: 569: 554: 3313:. Barranquilla, Colombia. 2013. Archived from 1109:) of indigenous origin; whereas the songs and 3770: 3664: 3639:Report about flauta de millo, by Plinio Parra 3391:Karval Music - Cumbia, Karval Music- Cumbia. 3158: 3156: 2999:Hernandez, Deborah Pacini (25 January 2010). 2502: 2500: 2498: 2496: 2494: 2492: 2451: 2449: 515:In 2006, Colombian musician and musicologist 505:Another possibility is the Tupi-Guarani word 8: 4914:Hispanic-influenced music in the Philippines 3279:Angélica Gallón Salazar (November 7, 2007). 2588:"Festival de la Cumbia - El Banco Magdalena" 2292:Huellas: Revista de la Universidad del Norte 2143: 2141: 2139: 1430:Cumbia and porro rhythms were introduced by 1276:seat of ancient Pocabuy Indigenous country. 1181:Sirenato de la Cumbia: celebrated yearly in 3218:Brenda Romero Martínez (January 31, 2012). 2536:"*** FUNDACIÓN CULTURAL DANZA COLOMBIA ***" 2530: 2528: 2409:José María Samper. "De Honda a Cartagena". 2387:Carnaval de Barranquilla, la fiesta sin fin 2278: 2276: 1093:In instrumentation are the drums; maracas, 4660: 4271: 3983: 3777: 3763: 3755: 3671: 3657: 3649: 2944: 2942: 2940: 2938: 2074: 2072: 99: 90: 59:. Please do not remove this message until 3531: 3429: 3427: 2957:, Duke University Press, pp. 29–48, 2639:Historia doble de la costa: Mompox y Loba 2559: 2557: 2258:Guillermo Carbó Ronderos (24 June 2006). 2253: 2251: 2249: 2247: 2245: 2173: 2087:, Duke University Press, pp. 29–48, 2024: 2022: 1535:with "Cumbia Chinandega" and groups like 1253:Geographical coverage of Colombian cumbia 716:and those who argue the thesis of origin 486:, assume that cumbia is derived from the 79:Learn how and when to remove this message 3226:. Barranquilla, Colombia. Archived from 2889:Nistar Romero Acosta (January 6, 1997). 2379: 2377: 2375: 1331: 1147:The most relevant cumbia festivals are: 1131: 575: 55:Relevant discussion may be found on the 3062: 3060: 1986: 1496:) is traditional the use of the modern 778:, Menchiquejo and San Sebastian in the 694:Run, run, get knocked down by La Cañón. 562:Almirante José Prudencio Padilla, p. 96 3129:Mario Javier Pacheco (July 19, 2011). 2235:Historia natural y moral de las Indias 2127: 2125: 864:they gave farewells to brave warriors 830:, and Gnecco Rangel Pava in his books 2804:"Fiestas de la Candelaria en La Popa" 2611:Atlas de las culturas afrocolombianas 2442:(in Spanish). Imprenta Departamental. 368: 7: 3069:"CARNAVAL: The Cumbia Serenade 2016" 3067:Narvaez, Robert (February 3, 2016). 846:se despedían de los bravos guerreros 782:, Chiriguaná and Tamalameque in the 678:Corre, corre, que te tumba la Cañón. 519:said that the etymology of the word 2916:Fabian Altahona (6 February 2012). 2412:Viajes de un Colombiano en Europa I 860:Sublime rite of the Pocabuy people, 614:Carl August Gosselman (1801–1843), 3199:. Bogotá, Colombia. March 22, 1999 3137:. Bogotá, Colombia. Archived from 2608:Luz Adriana Maya Restrepo (2003). 2538:. 13 February 2015. Archived from 2509:"La cumbia, Emperadora de Pocabuy" 2283:Adolfo González Henríquez (2009). 1484:Cumbia marimbera (Central America) 392:history of the coast of Colombia. 25: 2802:Joaquín Posada Gutiérrez (1886). 1543:with "Catalina". In El Salvador, 1155:", which is celebrated yearly in 638:This was an imitation of Spanish 3628:A Musical Journey Through Cumbia 3567:National Geographic Cumbia Music 3131:"Festival Nacional de la Cumbia" 2809:Museo de cuadros de costumbres I 2507:José G. Daniels (26 June 1998), 1308:Since the 1980s, in the city of 1151:Festival Nacional de la Cumbia " 790:, Chilloa, Chimi and Guataca in 34: 3037:Garsd, Jasmine (Feb 18, 2015). 2358:Viaje por Colombia: 1825 y 1826 2166:10.4067/S0716-27902016000200002 2029:Olivella, Delia Zapata (1967). 1833:in their stylings or as songs. 616:Viaje por Colombia: 1825 y 1826 557:celebrada fiesta de San Juan... 3520:Journal of World Popular Music 3343:. July 2, 2013. Archived from 2759:Nina S. de Friedemann (1993). 2697:Biblioteca Luis Ángel Arango, 2456:Delia Zapata Olivella (1962). 2148:Ochoa, Juan Sebastián (2016). 1261:, in the subregion around the 1036:under its former jurisdiction. 1007:that is loosely translated as 957:slavery in Cartagena de Indias 842:Ritual sublime de los Pocabuy, 27:Regional music and dance style 1: 4965:Music of the African diaspora 3440:. University of Texas Press. 2878:. Icaro Editores. p. 58. 2863:. Icaro Editores. p. 59. 2831:Alberto Abello Vives (2014). 2682:"Entrevista de José Barros", 2568:. Icaro Editores. p. 38. 2465:Revista Colombiana de Folclor 668:(Local Readings) (1953), the 3434:Kuss, Malena (5 July 2010). 2725:Isabela de Aranzadi (2009). 2471:(7): 189–200. Archived from 2330:"La mezcla de indio y negro" 796:Caribbean region of Colombia 714:Depresión Momposina Province 138:Caribbean region of Colombia 2812:. Bogotá : F. Mantilla 2667:Gnecco Rangel Pava (1948). 2652:Gnecco Rangel Pava (1947). 2641:. Carlos Valencia Editores. 2637:Orlando Fals Borda (1979). 1691:. Later styles include the 1687:creating the beginnings of 808:La Sabana (Sucre),La Sabana 806:(including the cultures of 605:Este era una imitación del 544:in the neighboring town of 61:conditions to do so are met 4981: 4950:Latin American folk dances 3514:Iten, Moses (2021-08-13). 3341:Radio Nacional de Colombia 3281:"Una fiesta hecha empresa" 3252:Alcaldía de Barranquilla. 2218:, vol. 2, p. 106 1856: 1761: 1660: 1555: 1423: 1350:Los Corraleros de Majagual 1320:Diffusion in Latin America 1136:Monument to the cumbia in 968:That can be translated as 4945:Colombian styles of dance 4940:Colombian styles of music 3684: 3635:Guide to cumbia (English) 3557:Retrieved 23 January 2021 3504:Retrieved 22 January 2021 3474:Retrieved 22 January 2021 3026:– via Google Books. 2963:10.1515/9780822391920-003 2876:Vallenato, Hombre y Canto 2861:Vallenato, Hombre y Canto 2566:Vallenato, Hombre y Canto 2294:(in Spanish) (80–81–82). 2093:10.1515/9780822391920-003 1879:Famous artists and groups 1849:, Mexican Andean Cumbia. 1807:Chacalon y la Nueva Crema 1541:Los Alegres de Ticuantepe 1527:with "Cumbia piquetona", 1257:Cumbia is present on the 1245:Modern cumbia in Colombia 1233:Since 2013, the mayor of 870:in the peace of cumbia... 852:en la paz de la cumbia... 798:, in the upper valley of 794:) located in the current 708:Controversy on the origin 294: 262: 231: 208:diatonic button accordion 98: 3555:Grupo Bronco rides again 3168:Ley 1701 (Colombian Law) 2438:Goenaga, Miguel (1953). 1531:with "Baila mi cumbia", 1201:carnaval de Barranquilla 844:en la rueda de la cumbia 517:Guillermo Carbo Ronderos 484:Guillermo Abadia Morales 18:Tambora (Colombian drum) 3411:"El Mestizaje de Cabas" 3102:Municipio de El Banco. 3007:Temple University Press 2210:Antonio Ruiz de Montoya 2154:Revista Musical Chilena 4955:Native American dances 2586:Alcaldía de El Banco. 2328:Luis Antonio Escobar. 1996:Retrieved 18 June 2021 1935:Music of Latin America 1847:Cumbia andina mexicana 1588:La Sonora de Tommy Rey 1444:Bovea y sus vallenatos 1442:. In the early 1960s, 1340: 1337:La Sonora de Tommy Rey 1329: 1254: 1144: 1128:Festivals and heritage 1054: 1046: 1038: 1025: 1013: 1005: 993: 984: 975: 966: 922:rhythm and dance from 904: 888: 872: 854: 751: 739:House of the composer 696: 686: 662: 653: 644: 620: 581: 574: 565: 538:José Prudencio Padilla 366:Spanish pronunciation: 3633:In a Nutshell: Cumbia 3393:"Karval Music-Cumbia" 3260:on September 24, 2016 3110:on September 23, 2015 3043:National Public Radio 2419:on September 23, 2015 1643:Orchestra San Vicente 1335: 1327: 1282:Festival de la Cumbia 1252: 1135: 738: 579: 480:Delia Zapata Olivella 377:genre and dance from 3785:Music genres in the 3397:Karval Music- Cumbia 2874:Ciro Quiroz (1983). 2859:Ciro Quiroz (1983). 2564:Ciro Quiroz (1983). 1873:Billo's Caracas Boys 1795:Cuarteto Continental 1708:La Cumbia Sampuesana 1669:La Cumbia Cienaguera 1623:Sonora Tomo como Rey 1529:Jorge Isaac Carballo 1265:delta invested, the 1228:Congress of Colombia 1165:Congress of Colombia 1068:form of music, like 862:at the cumbia circle 509:"murmuring, noise". 4748:Afro-Peruvian music 4071:Afro-Peruvian music 3141:on October 18, 2017 2922:Africolombia's Blog 2542:on 13 February 2015 1898:Rodolfo y Su Tipica 1695:, tropical Cumbia, 1647:Los Hermanos Flores 1545:Los Hermanos Flores 1537:Los Hermanos Cortés 1360:took the cumbia to 1221:Ministry of Culture 1060:Colombian tradition 144:Typical instruments 48:of this article is 4654:Charanga-vallenata 4086:Son de los Diablos 3572:2011-08-10 at the 3533:10.1558/jwpm.43089 3287:. Bogotá, Colombia 2897:. Bogotá, Colombia 2707:on August 22, 2009 2686:, p. 14, 1979 2654:El País de Pocabuy 2390:. pp. 131–150 1940:New Chilean cumbia 1859:Music of Venezuela 1783:Juaneco y Su Combo 1735:Los Angeles Azules 1584:Giolito y su Combo 1558:New Chilean cumbia 1504:, particularly in 1374:Juaneco y Su Combo 1341: 1330: 1255: 1145: 874:Fals Borda notes: 832:El País de Pocabuy 824:Orlando Fals Borda 792:Bolívar Department 752: 730:Orlando Fals Borda 582: 531:Music and heritage 347:Salvadorian cumbia 309:Costa Rican cumbia 249:New Chilean cumbia 4922: 4921: 4736: 4735: 4327: 4326: 4024: 4023: 3752: 3751: 3447:978-0-292-78840-4 3413:. Eluniversal.com 3174:on March 26, 2014 3073:Barranquilla Life 2972:978-0-8223-9192-0 2918:"Cumbia Soledeña" 2738:978-84-612-0340-6 2684:Diario del Caribe 2669:Aires Guamalenses 2212:(1876), "Cumbi", 2102:978-0-8223-9192-0 1975:La Pollera Colorá 1965:Totó la Momposina 1889:Armando Hernandez 1799:Los Diablos Rojos 1781:, and later with 1568:La pollera colorá 1462:Juan Carlos Denis 1448:Cuarteto Imperial 1414:Salvadoran cumbia 932:Equatorial Guinea 836:Aires Guamalenses 804:Mompox Depression 388:sombrero vueltiao 370:[ˈkumbja] 357: 356: 350:Venezuelan cumbia 338:Paraguayan cumbia 333:Panamanian cumbia 329:Nicaraguan cumbia 318:Guatemalan cumbia 315:Ecuadorian cumbia 108:Stylistic origins 89: 88: 81: 16:(Redirected from 4972: 4816:Canción melódica 4661: 4430:Traditional folk 4272: 4063:Peruvian coastal 4046:Paraguayan polka 3984: 3779: 3772: 3765: 3756: 3673: 3666: 3659: 3650: 3576: 3564: 3558: 3552: 3546: 3545: 3535: 3511: 3505: 3499: 3493: 3492: 3481: 3475: 3469: 3463: 3458: 3452: 3451: 3431: 3422: 3421: 3419: 3418: 3407: 3401: 3400: 3388: 3382: 3381: 3379: 3378: 3363: 3357: 3356: 3354: 3352: 3333: 3327: 3326: 3324: 3322: 3303: 3297: 3296: 3294: 3292: 3276: 3270: 3269: 3267: 3265: 3256:. Archived from 3249: 3240: 3239: 3237: 3235: 3215: 3209: 3208: 3206: 3204: 3189: 3183: 3182: 3181: 3179: 3160: 3151: 3150: 3148: 3146: 3126: 3120: 3119: 3117: 3115: 3106:. Archived from 3099: 3093: 3092: 3086: 3084: 3075:. Archived from 3064: 3055: 3054: 3052: 3050: 3034: 3028: 3027: 3025: 3023: 2996: 2990: 2989: 2988: 2987: 2946: 2933: 2932: 2930: 2928: 2913: 2907: 2906: 2904: 2902: 2886: 2880: 2879: 2871: 2865: 2864: 2856: 2850: 2849: 2847: 2845: 2839: 2828: 2822: 2821: 2819: 2817: 2799: 2793: 2792: 2790: 2788: 2779:. Archived from 2756: 2750: 2749: 2747: 2745: 2722: 2716: 2715: 2714: 2712: 2703:, archived from 2694: 2688: 2687: 2679: 2673: 2672: 2671:. Kelly, Bogotá. 2664: 2658: 2657: 2656:. Kelly, Bogotá. 2649: 2643: 2642: 2634: 2628: 2627: 2625: 2623: 2605: 2599: 2598: 2596: 2594: 2583: 2570: 2569: 2561: 2552: 2551: 2549: 2547: 2532: 2523: 2522: 2521: 2519: 2504: 2487: 2486: 2484: 2483: 2477: 2462: 2453: 2444: 2443: 2435: 2429: 2428: 2426: 2424: 2415:. Archived from 2406: 2400: 2399: 2397: 2395: 2381: 2370: 2369: 2367: 2365: 2352: 2346: 2345: 2343: 2341: 2336:on March 4, 2016 2332:. Archived from 2325: 2319: 2318: 2316: 2314: 2309:on March 4, 2016 2308: 2302:. Archived from 2289: 2280: 2271: 2270: 2268: 2266: 2255: 2240: 2239: 2226: 2220: 2219: 2206: 2200: 2199: 2186: 2180: 2179: 2177: 2145: 2134: 2129: 2120: 2119: 2118: 2117: 2076: 2067: 2066: 2026: 2017: 2014: 2008: 2003: 1997: 1991: 1893:Margarita Vargas 1754:Gustavo Layton. 1615:Sonora de Llegar 1426:Argentine cumbia 1406:Argentine cumbia 850:que allí morían 848:que allí morían, 684: 666:Lecturas locales 618: 563: 542:John the Baptist 372: 367: 306:Colombian cumbia 299:Argentine cumbia 244:cumbia pegassera 134:Cultural origins 115:Amerindian music 103: 91: 84: 77: 73: 70: 64: 38: 37: 30: 21: 4980: 4979: 4975: 4974: 4973: 4971: 4970: 4969: 4925: 4924: 4923: 4918: 4890: 4799: 4773:Afro-Cuban jazz 4758:Bomba del Chota 4732: 4659: 4505: 4425: 4323: 4319:Orquesta típica 4309:Uruguayan tango 4284:Argentine tango 4270: 4234: 4162: 4155: 4117: 4057: 4020: 3982: 3944: 3837: 3789: 3783: 3753: 3748: 3680: 3677: 3624: 3585: 3580: 3579: 3574:Wayback Machine 3565: 3561: 3553: 3549: 3513: 3512: 3508: 3500: 3496: 3483: 3482: 3478: 3470: 3466: 3459: 3455: 3448: 3433: 3432: 3425: 3416: 3414: 3409: 3408: 3404: 3390: 3389: 3385: 3376: 3374: 3365: 3364: 3360: 3350: 3348: 3335: 3334: 3330: 3320: 3318: 3317:on July 3, 2013 3305: 3304: 3300: 3290: 3288: 3278: 3277: 3273: 3263: 3261: 3251: 3250: 3243: 3233: 3231: 3217: 3216: 3212: 3202: 3200: 3191: 3190: 3186: 3177: 3175: 3162: 3161: 3154: 3144: 3142: 3128: 3127: 3123: 3113: 3111: 3101: 3100: 3096: 3082: 3080: 3079:on May 12, 2016 3066: 3065: 3058: 3048: 3046: 3036: 3035: 3031: 3021: 3019: 3017: 2998: 2997: 2993: 2985: 2983: 2973: 2948: 2947: 2936: 2926: 2924: 2915: 2914: 2910: 2900: 2898: 2888: 2887: 2883: 2873: 2872: 2868: 2858: 2857: 2853: 2843: 2841: 2837: 2830: 2829: 2825: 2815: 2813: 2801: 2800: 2796: 2786: 2784: 2777: 2758: 2757: 2753: 2743: 2741: 2739: 2724: 2723: 2719: 2710: 2708: 2696: 2695: 2691: 2681: 2680: 2676: 2666: 2665: 2661: 2651: 2650: 2646: 2636: 2635: 2631: 2621: 2619: 2607: 2606: 2602: 2592: 2590: 2585: 2584: 2573: 2563: 2562: 2555: 2545: 2543: 2534: 2533: 2526: 2517: 2515: 2506: 2505: 2490: 2481: 2479: 2475: 2460: 2455: 2454: 2447: 2437: 2436: 2432: 2422: 2420: 2408: 2407: 2403: 2393: 2391: 2383: 2382: 2373: 2363: 2361: 2354: 2353: 2349: 2339: 2337: 2327: 2326: 2322: 2312: 2310: 2306: 2287: 2282: 2281: 2274: 2264: 2262: 2257: 2256: 2243: 2228: 2227: 2223: 2208: 2207: 2203: 2188: 2187: 2183: 2147: 2146: 2137: 2130: 2123: 2115: 2113: 2103: 2078: 2077: 2070: 2035:Ethnomusicology 2028: 2027: 2020: 2015: 2011: 2004: 2000: 1994:Colombia Cumbia 1992: 1988: 1983: 1916: 1908:Sonora Dinamita 1903:Rodolfo Aicardi 1881: 1861: 1855: 1766: 1764:Peruvian cumbia 1760: 1751: 1716:El Gallo Mojado 1673:Mi gallo tuerto 1665: 1659: 1639: 1619:Chorizo Salvaje 1603:Banda Conmoción 1576:Sonora Palacios 1560: 1554: 1525:Victor M. Leiva 1502:Central America 1486: 1474: 1428: 1422: 1378:Peruvian cumbia 1322: 1267:Montes de María 1263:Magdalena River 1259:Caribbean coast 1247: 1183:Puerto Colombia 1130: 1062: 890:translated as: 869: 867: 866:who died there, 865: 863: 861: 856:translated as: 851: 849: 847: 845: 843: 710: 701: 693: 688:Translated as: 685: 682: 677: 655:Translated as: 622:Translated as: 619: 613: 567:Translated as: 564: 561: 533: 476: 365: 353: 343:Peruvian cumbia 321:Honduran cumbia 303:Bolivian cumbia 290:Regional scenes 285: 253: 235:Cumbia sonidera 222: 168:tambor llamador 129: 85: 74: 68: 65: 54: 39: 35: 28: 23: 22: 15: 12: 11: 5: 4978: 4976: 4968: 4967: 4962: 4960:Tropical music 4957: 4952: 4947: 4942: 4937: 4927: 4926: 4920: 4919: 4917: 4916: 4911: 4910: 4909: 4898: 4896: 4892: 4891: 4889: 4888: 4883: 4878: 4873: 4868: 4863: 4858: 4853: 4848: 4843: 4838: 4833: 4828: 4823: 4818: 4813: 4807: 4805: 4801: 4800: 4798: 4797: 4795:Tropical music 4792: 4787: 4782: 4777: 4776: 4775: 4765: 4760: 4755: 4750: 4744: 4742: 4738: 4737: 4734: 4733: 4731: 4730: 4725: 4720: 4715: 4710: 4705: 4700: 4695: 4690: 4685: 4680: 4675: 4669: 4667: 4658: 4657: 4647: 4642: 4637: 4636: 4635: 4625: 4624: 4623: 4618: 4608: 4607: 4606: 4596: 4591: 4586: 4581: 4576: 4571: 4566: 4561: 4556: 4551: 4546: 4541: 4536: 4531: 4526: 4521: 4515: 4513: 4507: 4506: 4504: 4503: 4502: 4501: 4496: 4491: 4481: 4476: 4475: 4474: 4469: 4464: 4454: 4449: 4444: 4439: 4433: 4431: 4427: 4426: 4424: 4423: 4418: 4413: 4408: 4403: 4398: 4393: 4388: 4383: 4378: 4373: 4368: 4363: 4358: 4353: 4348: 4343: 4337: 4335: 4329: 4328: 4325: 4324: 4322: 4321: 4316: 4311: 4306: 4301: 4296: 4291: 4286: 4280: 4278: 4269: 4268: 4263: 4258: 4256:Música cebolla 4253: 4248: 4242: 4240: 4236: 4235: 4233: 4232: 4227: 4226: 4225: 4220: 4210: 4205: 4200: 4195: 4194: 4193: 4188: 4178: 4173: 4167: 4165: 4157: 4156: 4154: 4153: 4148: 4143: 4138: 4133: 4127: 4125: 4119: 4118: 4116: 4115: 4110: 4105: 4100: 4095: 4094: 4093: 4088: 4083: 4078: 4067: 4065: 4059: 4058: 4056: 4055: 4054: 4053: 4043: 4038: 4032: 4030: 4026: 4025: 4022: 4021: 4019: 4018: 4013: 4008: 4003: 3998: 3992: 3990: 3981: 3980: 3975: 3970: 3965: 3960: 3954: 3952: 3946: 3945: 3943: 3942: 3937: 3932: 3927: 3922: 3917: 3914:Canary Islands 3910: 3905: 3904: 3903: 3898: 3893: 3891:Rumba flamenca 3888: 3883: 3878: 3873: 3863: 3858: 3853: 3847: 3845: 3839: 3838: 3836: 3835: 3830: 3825: 3820: 3815: 3810: 3805: 3799: 3797: 3791: 3790: 3784: 3782: 3781: 3774: 3767: 3759: 3750: 3749: 3747: 3746: 3741: 3736: 3731: 3726: 3721: 3716: 3711: 3706: 3701: 3696: 3691: 3685: 3682: 3681: 3678: 3676: 3675: 3668: 3661: 3653: 3647: 3646: 3641: 3636: 3630: 3623: 3622:External links 3620: 3619: 3618: 3615: 3612: 3609: 3606: 3603: 3592: 3589: 3584: 3581: 3578: 3577: 3559: 3547: 3506: 3494: 3476: 3464: 3453: 3446: 3423: 3402: 3383: 3358: 3347:on May 3, 2015 3328: 3298: 3271: 3241: 3210: 3184: 3152: 3121: 3094: 3056: 3029: 3015: 2991: 2971: 2934: 2908: 2881: 2866: 2851: 2823: 2794: 2776:978-9589176092 2775: 2751: 2737: 2717: 2689: 2674: 2659: 2644: 2629: 2600: 2571: 2553: 2524: 2488: 2445: 2430: 2401: 2371: 2347: 2320: 2272: 2241: 2230:José de Acosta 2221: 2201: 2190:Harry Johnston 2181: 2160:(226): 31–52. 2135: 2121: 2101: 2068: 2047:10.2307/850500 2018: 2009: 1998: 1985: 1984: 1982: 1979: 1978: 1977: 1972: 1970:Tropical music 1967: 1962: 1957: 1952: 1947: 1942: 1937: 1932: 1930:Cumbia villera 1927: 1922: 1915: 1912: 1911: 1910: 1905: 1900: 1895: 1890: 1887: 1885:Aniceto Molina 1880: 1877: 1857:Main article: 1854: 1851: 1835:Grupo Fantasma 1762:Main article: 1759: 1756: 1750: 1747: 1739:Los Caminantes 1704:Aniceto Molina 1702:In the 1970s, 1697:Cumbia grupera 1689:Mexican cumbia 1663:Mexican cumbia 1661:Main article: 1658: 1655: 1638: 1635: 1599:Chico Trujillo 1572:Chilean cumbia 1564:Luisín Landáez 1556:Main article: 1553: 1550: 1533:Jorge Paladino 1485: 1482: 1473: 1470: 1457:villas miseria 1452:Cumbia villera 1436:Eduardo Armani 1432:Lucho Bermudez 1424:Main article: 1421: 1418: 1410:Mexican cumbia 1346:Lucho Bermudez 1321: 1318: 1246: 1243: 1209:Rio de Janeiro 1197: 1196: 1193: 1190: 1179: 1168: 1129: 1126: 1125: 1124: 1117: 1114: 1061: 1058: 1048:Translated as 1027:translated as 986:translated as 898:, Chiriguaná, 882:, Chiriguaná, 868:who died there 820:Afro-Colombian 709: 706: 700: 697: 680: 670:barranquillero 611: 559: 532: 529: 475: 472: 355: 354: 352: 351: 348: 345: 340: 335: 330: 327: 325:Mexican cumbia 322: 319: 316: 313: 312:Chilean cumbia 310: 307: 304: 301: 295: 292: 291: 287: 286: 284: 283: 280: 277: 272: 267: 263: 260: 259: 255: 254: 252: 251: 246: 241: 239:cumbia villera 236: 232: 229: 228: 224: 223: 221: 220: 215: 210: 205: 200: 195: 190: 185: 182: 179:caja vallenata 175: 170: 165: 160: 155: 147: 145: 141: 140: 135: 131: 130: 128: 127: 122: 120:European music 117: 111: 109: 105: 104: 96: 95: 87: 86: 42: 40: 33: 26: 24: 14: 13: 10: 9: 6: 4: 3: 2: 4977: 4966: 4963: 4961: 4958: 4956: 4953: 4951: 4948: 4946: 4943: 4941: 4938: 4936: 4933: 4932: 4930: 4915: 4912: 4908: 4905: 4904: 4903: 4900: 4899: 4897: 4893: 4887: 4884: 4882: 4879: 4877: 4876:Spanish opera 4874: 4872: 4869: 4867: 4866:Punto guajiro 4864: 4862: 4859: 4857: 4854: 4852: 4849: 4847: 4844: 4842: 4839: 4837: 4834: 4832: 4829: 4827: 4824: 4822: 4819: 4817: 4814: 4812: 4809: 4808: 4806: 4802: 4796: 4793: 4791: 4788: 4786: 4783: 4781: 4778: 4774: 4771: 4770: 4769: 4766: 4764: 4761: 4759: 4756: 4754: 4751: 4749: 4746: 4745: 4743: 4739: 4729: 4726: 4724: 4721: 4719: 4716: 4714: 4711: 4709: 4706: 4704: 4701: 4699: 4696: 4694: 4691: 4689: 4686: 4684: 4681: 4679: 4676: 4674: 4671: 4670: 4668: 4666: 4662: 4655: 4651: 4648: 4646: 4643: 4641: 4638: 4634: 4631: 4630: 4629: 4626: 4622: 4619: 4617: 4614: 4613: 4612: 4609: 4605: 4602: 4601: 4600: 4597: 4595: 4592: 4590: 4587: 4585: 4582: 4580: 4577: 4575: 4572: 4570: 4567: 4565: 4562: 4560: 4557: 4555: 4552: 4550: 4547: 4545: 4542: 4540: 4537: 4535: 4532: 4530: 4527: 4525: 4522: 4520: 4517: 4516: 4514: 4512: 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