Cumbia refers to a number of musical rhythms and folk dance traditions ofLatin America, generally involving musical and cultural elements from American Indigenous peoples, Europeans and Africans during colonial times.[1] Cumbia is said to have come from funeral traditions in theAfro-Colombian community.
Cumbia traditionally uses three drums (tambora,tambor alegre [es] andllamador), three flutes (gaita hembra andgaito macho, both forms ofColombian flute [es], andflauta de millo) and has a2 2 or2 4 meter.[2] The sound of cumbia can be characterized as having a simple "chu-chucu-chu" rhythm created by theguacharaca.[3] The genre frequently incorporatesbrass instruments andpiano.In order to properly understand the interlocking relationship between cumbia's roots, its Pan-American (and then global) routes, and its subgenres, Colombia's geocultural complexities must be taken into account.
Most Hispanic American countries have made their own regional version of Cumbia, some of them with their own particularity.
Examples of cumbia include:
Colombian cumbia is a musical rhythm and traditional folk dance fromColombia.[4] It has elements of three different cultures, American Indigenous, African, and Spanish, being the result of the long and intense meeting of these cultures during theConquest and theColony.[5] The Colombian cumbia is the origin of all the other variations,[6] including the tradition of dancing it with candles in the dancers' hands.
Panamanian cumbia, Panamanian folk dance and musical genre, developed by enslaved people of African descent during colonial times and later syncretized with American Indigenous and European cultural elements.
Cumbia's background came from the coastal region of Colombia.[7] To be more specific, its dance came from a coastal traditional culture, as cumbia had multiple ethnic influences that originated from this region. One of the biggest factors of its heritage is the African influences that was brought over by the African slaves imported from the colonization of the Spaniards. The influence came from thecosteño[8] dance. Another influence was the integration of Spanish people. The Spanish folksongs with influences from the indigenous caused the fusion of races andthe elements of their cultures were likewise fused.[9]
The history of cumbia has evolved throughout the years, known as a street dance but had a period of transiting into a ballroom dance.[10] Cumbia is commonly known for having many subgenres from different countries which contributes to the different dance styles known. Cumbia can be referred to as a folk dance while also being known globally as a street dance. To better understand what the dances of cumbia resemble it's better to know the basics of the dance. Cumbia is danced in pairs, consisting the amorous conquest of a woman by a man. This is crucial since the dance from the Atlantic coast[11] has the woman holding a candle in her right hand. This serves as two narrative functions; one to light the way for the dancing woman and the latter for a more serious motif. The latter can be portrayed in an imaginative sentenceas a weapon by which the woman defends herself against the advances of her partner.[11]
Since the 1950s, cumbia has been an art form that is stylized, orchestrated and lyricized, contrary to the traditional form. This has diverged through the years and the world-known genre even had a brief period in the 1970s where it lost its popularity.
As the genre evolved, it expanded throughout Latin America. The expansion has led to the creation of new variations on the form, and international recognition of the genre changed public perceptions. Cumbia almost disappeared in Colombia in the 1970s after the introduction ofsalsa. Although that was detrimental it could be argued that cumbia found stability in Central America, Mexico, and Peru.[12] The transformation of cumbia in other countries to better align with the taste of populations with very different aesthetic traditions from the strongly African-derived coastal culture[13] from which it originally emerged.
Representing cumbia being perceived as expressing the harmonious outcome of racial and cultural blending, this socially affected the public views on the region's highly discriminatedmestizoworking class. Socially and economically some changed their views on mestizos due to cumbia being a large factor in shaping their perspective - except inArgentina, where it's still largely seen as vulgar and offensive by much of the middle class and has thus mostly helped reinforce lower class stereotypes.[14]
Northern Mexican cumbia or cumbia norteña, a variant of Mexican cumbia, developed in northeastern Mexico and some parts of Texas (former Mexican territory)
Cumbia marimbera, a subgenre of Cumbia that is widely popular in Southern Mexico and Central America
Cumbia pegassera, a variant of Mexican cumbia that is primarily popular in Northern Mexico and the United States.
Tecnocumbia, a subgenre of cumbia that combines elements of cumbia and electronic music.
Cumbia Rebajada, a subculture originating in Monterrey, NL, but popular worldwide, that uses significantly slowed-down versions of accordion-based Colombian cumbia records.
Panamanian cumbia; A subgenre that involves Panamanian folk dance and the cumbia musical genre, developed by enslaved people of African descent during the expansion of Spanish rule in Panama and later syncretized with American Indigenous and European cultural elements.
Chicha [es] also known as Andean cumbia or Andean tropical music
Amazonian cumbia or jungle cumbia, a popular subgenre of Peruvian cumbia, created in the Peruvian Amazon
Cumbia piurana, a set of styles and sub-genres linked to cumbia that have been produced in Piura, a region on the north Peruvian coast, since the mid-1960s
Tejano or Tex-Mex music, a popular music style that fuses elements of cumbia with other genres of Mexican and American origin that developed in Texas and Mexico in the 20th century.
Cumbia rap, a variant of cumbia that is popular in the United States and Latin America that includes elements of hip-hop and rap
^Parra Valencia, Diego (2019).El libro de la cumbia: Resonancias, transferencias y transplantes de las cumbias latinoamericanas. Instituto Tecnológico Metropolitano / Discos Fuentes Edimusica S.A.
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