“Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criolla

Champeta is a musical genre from the Colombian Caribbean that originated in connection with the region’s neighborhood parties. It is known for imitating and copying various African and Antillean music. Since the 1990s, its songs have combined this recycling of Afro-diasporic music with references to...

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Main Author: Andrés Gualdrón Ramírez
Format: Article
Language:Spanish
Published: Presses universitaires du Midi 2024-12-01
Series:Caravelle
Subjects:
Online Access:https://journals.openedition.org/caravelle/16383
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author Andrés Gualdrón Ramírez
author_facet Andrés Gualdrón Ramírez
author_sort Andrés Gualdrón Ramírez
collection DOAJ
description Champeta is a musical genre from the Colombian Caribbean that originated in connection with the region’s neighborhood parties. It is known for imitating and copying various African and Antillean music. Since the 1990s, its songs have combined this recycling of Afro-diasporic music with references to global popular television culture. This article considers these intertextual exercises and their significance within the historical and economic dynamics of the genre, their relationship to some wide-ranging black music practices, and their tensions with the control of mimesis imposed globally by copyright law. Finally, some conclusions are proposed on the cultural and creative role played by contraventions of these norms in contexts of economic informality.
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institution Kabale University
issn 1147-6753
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publishDate 2024-12-01
publisher Presses universitaires du Midi
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series Caravelle
spelling doaj-art-2c8a0064eb004867a4d4dcab36e9dc812025-01-09T16:15:58ZspaPresses universitaires du MidiCaravelle1147-67532272-98282024-12-0112311513010.4000/1315g“Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criollaAndrés Gualdrón RamírezChampeta is a musical genre from the Colombian Caribbean that originated in connection with the region’s neighborhood parties. It is known for imitating and copying various African and Antillean music. Since the 1990s, its songs have combined this recycling of Afro-diasporic music with references to global popular television culture. This article considers these intertextual exercises and their significance within the historical and economic dynamics of the genre, their relationship to some wide-ranging black music practices, and their tensions with the control of mimesis imposed globally by copyright law. Finally, some conclusions are proposed on the cultural and creative role played by contraventions of these norms in contexts of economic informality.https://journals.openedition.org/caravelle/16383Caribbean musicAfrican musicIntertextualityCopyingPiracy
spellingShingle Andrés Gualdrón Ramírez
“Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criolla
Caravelle
Caribbean music
African music
Intertextuality
Copying
Piracy
title “Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criolla
title_full “Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criolla
title_fullStr “Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criolla
title_full_unstemmed “Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criolla
title_short “Dame tu fuerza, Pegaso”: cultura televisiva, música africana, copia e intertextualidad en el género de la champeta criolla
title_sort dame tu fuerza pegaso cultura televisiva musica africana copia e intertextualidad en el genero de la champeta criolla
topic Caribbean music
African music
Intertextuality
Copying
Piracy
url https://journals.openedition.org/caravelle/16383
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