According to Wikipedia:
The word ‘Champeta’ refers to the short, curved knife of the same name, used at work, in the kitchen and as a defensive and offensive weapon in this region!!!
The word “Champeta” was first 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.
Since before the 1920s the inhabitants of the neighborhoods farthest from the center of Cartagena, those of the poorest social strata and of African descent have been called ‘champetudo’. The economic elite used this designation as an attempt to devalue this vibrant culture. The name, ambiguously accepted and transformed, originates from the relationship of these people, with the knife called “champeta”, as it was associated with vulgarity, poverty and blackness. This culture has a past historically marked with slavery and mistreatment with its center in the oldest districts of the Isla Caimán, currently called Olaya, and the Pozón district.
At the beginning of the 1970s the Champeta culture became more visible at a national level in Colombia through a series of diverse and complex dances set to the rhythms of Caribbean music. This music was principally a mix of genres such as salsa and jíbaro but later included reggae. This music was played over large loudspeakers, popularly called “picós”, that were invented during the 1960s in Cartegena. Equipped with these sound systems they held dancce competitions and other events. Those dances were called “therapy” because of their ability help people to relax and free themselves from the economic problems of the country.
In the 1980s “creole therapy” became a new genre of music, sung and interpreted by people from Cartegena and San Basillo, later joined by people from Barranquilla, Santa Marta and the rest of the country. Baranquilla played an important role in the commercialization of this genre of music. Subsequently, the music became popular in picós. Soon, it was known as “creole therapy”, “Colombian therapy” and finally, Champeta.
The musicians of Champeta are Michel, the Afinaíto, the Sayayín, Charles King, the Pupy, the Jhonky (D.E.P.), Elio Boom, Mister Black, the enchantment, Alvaro “the Barbarian”, the Papo Man, Luis Towers, the Yao, Ito “the untouchable one”, Boogaloo, Dogardisc, Melchor Torres, the Pupy, Charles King, the Pitu, the Chano…, whereas others, like Elio Boom, have incorporated music of jamaicadel raggamuffin to the champeta.
So fast forward to 2010 and our own homie, Generation Bass Bad Boy and Colombia’s golden son, CABALLO creates a new sub-genre from an existing genre!
Caballo’s “Electro Champeta” has a more soukous flavour introduced to it with full “respect” to the champeta intact with some MF lyrics!!!!
As far as we know no one else has done this before as an original track. So check it out cause I LOVE IT!!!!
Here’s 2 versions of the same track:
KINKY ELECTRIC NOISE VERSION FEAT. CABALLO