Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean
The shifts and fractures introduced by UNESCO heritagisation processes, unleashed in the Colombian Caribbean from the early noughties, have been particularly acute when it comes to music practices. Eight out of ten Colombian practices inscribed on UNESCO’s heritage lists are indeed either music-base...
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| Argitaratua izan da: | URI:https://journals.openedition.org/transposition, |
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| Egile nagusia: | |
| Formatua: | Article ou chapitre numérique |
| Hizkuntza: | Anglais |
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Transposition
2019
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| Sarrera elektronikoa: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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openedition-oai:revues.org:transposition_3254 |
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openedition |
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openedition-oai:revues.org:transposition_3254 https://doi.org/10.4000/transposition.3254 urn:doi:10.4000/transposition.3254 en https://journals.openedition.org/transposition/3254 2019-11-04T01:00:00Z info:eu-repo/semantics/openAccess article info:eu-repo/semantics/article urn:handle:20.500.13089/lmcc https://creativecommons.org/licenses/by-sa/4.0/ Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean Transposition Éditions de l’EHESS info:eu-repo/semantics/reference/issn/2110-6134 URI:https://journals.openedition.org/transposition Montoya Alzate, Juan D. identité patrimoine culturel immatériel études caribéennes champeta décolonialisme multiculturalisme identity intangible cultural heritage champeta decolonialism multiculturalism. Caribbean studies The shifts and fractures introduced by UNESCO heritagisation processes, unleashed in the Colombian Caribbean from the early noughties, have been particularly acute when it comes to music practices. Eight out of ten Colombian practices inscribed on UNESCO’s heritage lists are indeed either music-based or strongly music-related. This paper focuses on the ways in which champeta—an urban music-based identity crafted in the city of Cartagena from the mid-1980s—has engaged in official and unofficial processes of heritagisation, in which practitioners have struggled to revise the locally contested and racialized burden borne by their cultural practice. Delving into the Afrocentric aims laid out by Afro-descendants and pioneers of champeta music—born out of a Caribbean remake of “African” music styles such as soukous—this community-based heritagisation process reveals itself as unsympathetic to hegemonic power formations, hence challenging those involved in the creation of heritage lists. This paper problematizes the relation between tangible and intangible heritage in Cartagena by assessing the impact of implementing safeguarding measures in tangible landmarks particularly enmeshed in colonial and slave history. It also explores how multiculturalism and heritage have become scenarios for political struggle in Colombia, hence shaping social and academic grounds for discussing issues such as cultural ownership, racial identification, musical genealogies and political upheaval. Les déplacements et les fractures provoqués par les processus de patrimonialisation de l’UNESCO, qui ont affecté les Caraïbes colombiennes depuis le début des années 2000, ont été particulièrement sensibles dans le domaine des pratiques musicales. En effet, parmi les pratiques colombiennes inscrites sur les listes du patrimoine de l’UNESCO, huit sur dix sont fondées sur la musique ou fortement liées à la musique. Cet article porte sur la manière dont la champeta — une identité forgée autour de la musique urbaine de la ville de Cartagena à partir du milieu des années 1980 — a été prise dans des processus officiels ou non officiels de patrimonialisation, et sur les luttes engagées par ceux qui la pratiquent contre la charge sociale et l’absence de reconnaissance pesant sur leur pratique culturelle. En examinant les revendications afrocentriques des afrodescendants et des pionniers de la musique champeta — issue d’un remake caribéen de styles musicaux « africains » tels que le soukous —, on s’aperçoit que ce processus de patrimonialisation au fort ancrage communautaire résiste aux formes de pouvoir hégémoniques, et constitue un défi pour ceux qui œuvrent à la création des listes patrimoniales. Cet article problématise la relation entre patrimoine matériel et immatériel à Cartagena, en évaluant l’impact des mesures de sauvegarde des monuments matériels notoirement liés à l’histoire coloniale et esclavagiste. Il explore également la façon dont le multiculturalisme et le patrimoine sont devenus des scénarios de lutte politique en Colombie, où ils forment dès lors un terrain social et académique pour débattre de questions relatives à la propriété culturelle, à l’identification raciale, aux généalogies musicales et aux soulèvements politiques. |
| collection |
OpenEdition Journal |
| language |
Anglais |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/OpenEdition Journals/ |
| topic |
identité patrimoine culturel immatériel études caribéennes champeta décolonialisme multiculturalisme identity intangible cultural heritage champeta decolonialism multiculturalism. Caribbean studies |
| spellingShingle |
identité patrimoine culturel immatériel études caribéennes champeta décolonialisme multiculturalisme identity intangible cultural heritage champeta decolonialism multiculturalism. Caribbean studies Montoya Alzate, Juan D. Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean |
| description |
The shifts and fractures introduced by UNESCO heritagisation processes, unleashed in the Colombian Caribbean from the early noughties, have been particularly acute when it comes to music practices. Eight out of ten Colombian practices inscribed on UNESCO’s heritage lists are indeed either music-based or strongly music-related. This paper focuses on the ways in which champeta—an urban music-based identity crafted in the city of Cartagena from the mid-1980s—has engaged in official and unofficial processes of heritagisation, in which practitioners have struggled to revise the locally contested and racialized burden borne by their cultural practice. Delving into the Afrocentric aims laid out by Afro-descendants and pioneers of champeta music—born out of a Caribbean remake of “African” music styles such as soukous—this community-based heritagisation process reveals itself as unsympathetic to hegemonic power formations, hence challenging those involved in the creation of heritage lists. This paper problematizes the relation between tangible and intangible heritage in Cartagena by assessing the impact of implementing safeguarding measures in tangible landmarks particularly enmeshed in colonial and slave history. It also explores how multiculturalism and heritage have become scenarios for political struggle in Colombia, hence shaping social and academic grounds for discussing issues such as cultural ownership, racial identification, musical genealogies and political upheaval. |
| author |
Montoya Alzate, Juan D. |
| author_facet |
Montoya Alzate, Juan D. |
| author_sort |
Montoya Alzate, Juan D. |
| title |
Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean |
| title_short |
Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean |
| title_full |
Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean |
| title_fullStr |
Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean |
| title_full_unstemmed |
Champeta’s Heritage: Diasporic Music and Racial Struggle in the Colombian Caribbean |
| title_sort |
champeta’s heritage: diasporic music and racial struggle in the colombian caribbean |
| publisher |
Transposition |
| publishDate |
2019 |
| container_title |
URI:https://journals.openedition.org/transposition |
| url |
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.4000/transposition.3254 https://ezproxy.univ-orleans.fr/login?url=https://journals.openedition.org/transposition/3254 |
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1877294183248560128 |