Cumbia: The Music of Columbia
Nicholas Swanson
Setting
Cumbia is a popular Latin American musical genre similar to salsa that dates back to the 17th century. Cumbia is now one of the most well known genres in Latin American music. “Cumbia is often known as Colombia's main folk style; many would say that it is the musical genre that most accurately symbolizes Colombian nationality (others might argue that vallenato does this)”(Carter). It was also used during the Colombian struggle for independence as an expression of resistance against Spain; therefore, most of its songs’ messages were related to freedom or slavery. Cumbia originated in Columbia’s Caribbean costal region and combines the music and culture of the native Colombians, slaves that had been brought from Africa, and the Spanish that arrived during colonial times. The true birthplace of cumbia is uncertain; however, there is consensus that it was near the Colombian colonies that were inhabited by African descendants.
The word cumbia comes from the African word “cumbé”, which means dance. Cumbia was a way that the Africans and native Colombians could interact and socialize. Originally, cumbia was a courtship ritual, a dance performed when a couple married, or an expression of the love between a man and a woman. In its beginnings, cumbia was viewed negatively due to its inappropriate dance moves and association with the lower class. The movements involved with cumbia music tend to be very sexual and provocative. The dance typically involves men and women dancing with the accompaniment of both men and women playing music. The women hold candles and twirl their long skirts while the men dance behind them holding one arm behind their back and the other maneuvering their hat.
Cumbia music began gaining global popularity in the 1950s and 1960s. Although, cumbia’s journey to stardom began with “Pioneering record label Discos Fuentes, established in 1934 by Antonio Fuentes Estrada, also became instrumental in disseminating recordings of cumbia music to the masses, even stretching to North America, where Latin American music was becoming increasingly popular.”(Cunningham) Discos Fuentes is based in Medellín, Columbia and is the country’s first established record label. It played a crucial role in promoting cumbia music and other Latin American genres as well as creating careers for composers and musicians associated with such genres. Nowadays, cumbia music is played throughout all of Latin America and it has been adopted in other countries such as Mexico, Peru, Chile, and Argentina. Artists in each of these countries have incorporated cumbia into their performances. In addition, people in these countries have developed new forms of cumbia based on the structure and rhythm of the original music.
Immigration has played an important role in the evolution of cumbia and its many sub genres. In the mid-20th century, cumbia began to spread and change throughout Central America and South America. It began in the 1960s when Luis Carlos Meyer moved to Mexico and began recording cumbian music. People began incorporating Mexican and modern instruments into their recordings in order to make it unique. Later in the 1970’s, cumbia music started to gain popularity amongst the middle-class youth of Peru. However, cumbia soon became known for its affiliation with lower-class immigrants. It was labeled Cumbia Andina or chichi, which mixed Peruvian Popular, Andean music and cumbian rhythms. It later spread to Chile and incorporated a wide variety of music styles such as rock, bolero, ska, reggae and even some gypsy-jives. Cumbia Villera is a subgenre that originated in the slums of Argentina. With the uprising in popularity in electronic music and the use of electronic sounds and instruments in the late 20th century, tecnocumbia was born in Mexico and quickly became a huge hit. All in all, cumbia has come a long way from its beginning as a slave dance into the world renowned genre it is today.
Sound
Cumbia music uses a variety of instruments ranging from drums, flutes, and vocals that come from across the globe. Traditionally, the percussion instruments all derived from West Africa. This includes a variety of drums such as the tambora (bass drum), tambor alegre (secondary drum used for back beat), and the tambor lamador (calling drum used for back beat). The maracas, which originated in Portugal, and the guaches, are also staple instruments in traditional cumbia music used for overtones. The wind instruments used in cumbia involve three different flutes (gaitas) of Colombian origin, including the gaita macho, the gaita hembra, and the millo flute. Initially, cumbia was only instrumental. As the genre developed and evolved, many instruments were added including additional drum kits, brass instruments, woodwind instruments, lyrics and vocals, and even electronic instruments. All of changes, modifications and additions have helped cumbian artists create unique interpretations of cumbia.
The track “Prende la Vela” by Toto la Momposina, which translates in English to “Light the candle”, is an excellent example of traditional cumbian sound. Tot ó la Momposina has been deemed as a key figure in modern day cumbia and was nominated for a ‘P remio Nuestra Tierra’, a prestigious award in the Columbian music industry for best song in 2014. This song uses a collection of instruments such as a variety of drums (tambora, tambora alegre, and tambora lamador), the maracas, the guache, a trumpet, and vocals. There is also some form of electronic equipment that is used in making background noises. The piece starts with a slow tempo with very full and elongated vocals, the accompaniment of drums, and what sounds like jungle noises. About a minute into the song it picks up drastically, the drumming becomes very fast and the maracas, guache, and background vocals are introduced. The background vocals create an undertone by both repeating the chorus and by repeating the lead vocalist’s chants. Halfway through the song, the trumpet comes in and begins playing the melody to replace the vocals. Overall, the sounds are organized to emphasize the melody, whether it is done using the vocalist or the trumpet. While listening to cumbia music, similarities to other popular genres such as salsa, jazz are discernible. There are many instruments used across these genres that overlap, and these genres have been used to influence different styles of cumbia music.
(Music example 1): https://www.youtube.com/watch?v=Vptjlofa70w
The most modern form of cumbia, tecnocumbia, combines the style of cumbia with electronic sounds that are generated through electronic instruments such as the electric guitar and electric drums. The term tecnocumbia became the official name for the genre in Mexico in the early 90s when the American singer, Selena, came out with the musical hit “technocumbia”. Although, in different parts of South America, tecnocumbia had been given several names before the term tecnocumbia was created. One of Selena’s greatest tecnocumbian hit was “La caracha”, which translates to “the old car”. Selena was a very influential artist in Latin American music. Billboard Magazine labeled her “best Latin artist” and “best selling Latin artist of the decade” in the 90s. She is also accredited with bringing multiple Latin American genres, including cumbia, into mainstream pop culture. In this song a variety of instruments are used such as the keyboard (imitating brass instruments), electric guitar, bass, electric drums, and a variety of sound effects (the sound of a car honking). The entire song is sung in Spanish. The song begins with a short instrumental rift that is the basic harmony. The same rift is heard throughout the entire song during the melodic vocal breaks.
(Music example 2): https://www.youtube.com/watch?v=p0Az7ULwdvU
In this song Selena is singing about her significant other having an old car. Her peers laugh and gossip about him but she is not ashamed. Nonetheless, she is not ashamed of him and doesn’t mind that he is neither rich nor good looking and drives a junky car. The only thing that matters to her is that he treats her like a queen and is faithful. This particular song and subgenre is very upbeat and easy to dance to. Tecnocumbia is meant to be a young, hip, digitized and globally mish-mashed version of the genre in order to appeal to the younger generation.
Significance
Cumbia music has encountered many obstacles during its existence as a genre. Social class and racial factors have been primarily large issues throughout the formation and adaptations of cumbia. Be that as it may, the social class affiliation with cumbia music facilitated the evolution of the genre into what it is today. Both race and social class affiliation have influenced cumbia music, dance, and culture.
Social class has been a huge issue involved with cumbia music. During its origins, cumbia was associated with the lower class people because slaves were the primary developers of the genre. Also, cumbia was viewed as highly inappropriate due to its promiscuous dance moves, which caused even more disdain toward the genre. One theory is “cumbia is so popular [because] it is a fairly simple, straightforward dance step — as opposed to salsa music, which is more intricate and difficult to master.”(Garsd) This “simple dance step” was a consequence of the dancers (slaves) having their ankles shackled, resulting in limited movement. It is amazing that what started, as a slave dance is now one of the most popular dances today. Cumbia is taught in dance classes throughout North and South America and it is a common term that most recognize.
Race has also been a relevant issue in cumbia music. “‘It’s a problem of class,” says Canale.’ The middle, upper classes, they don’t care about folklore.” The class- and race-based disdain for cumbia… the insane popularity around the genre and the insane prejudice against it among richer, whiter Argentinians” (Shepard). Many, mostly whites, still look down on the genre based on the color of the skin of the artist and the people performing it. Racism is still a significant factor that influences approval, or disapproval, of the genre. In most countries, those with darker skin are considered lower in the class system, perpetuating the racism and animosity.
“Lower class syncretic forms gradually percolate upwards, acquiring more musical sophistication and eventually coming to be a enjoyed by the upper classes,’ and perhaps gaining the status of national music” (Wade 8). In every country where cumbia made an appearance, it started off as unpopular and was meant for the lower class. However, it is now one of the most popular styles of music in the world. Due to musicians applying their own twists to the genre and modifying the music, cumbia music has developed into many different forms, which are enjoyed by all. This evolution of the music has shaped cumbia music into what it is today and it has become a part of each culture’s sounds and traditions.
It is fascinating how a variety of popular musical genres, such as samba or tango, which also began with the lower classes, and are now enjoyed by all social classes. It is intriguing when the upper classes unanticipated become fond of a particular kind of music that is inherently associated with the lower classes. Somehow they assimilate music in order to make it appropriate to fit their lifestyles. A vast majority of musical genres that were once associated, or are still associated with the lower classes, are some of the most popular styles of music worldwide. Despite music’s origin, despite racism or society’s labels, music is to be enjoyed by all genders, races, classes and people regardless of socio economics or demographics.
In today’s society, cumbia can be heard everywhere, on the radio, on TV, incredibly popular clubs, and much more. Throughout the course of many musical genres developments, genres have be shunned and deemed unworthy for the elite members of society. It is highly likely that music that is or was once seen as ‘poor people music’ will make its way to the top. Most likely it will adapt into a form that conforms to society at the time of its upbringing.
References
Carter, Nicholas. "The Story Inside the Rhythm: Cumbia | Global Conversation." Global Conversation. N.p., 12 Feb. 2012. Web. 08 Aug. 2015
Cunningham, Amy. "A Musical Journey Through Cumbia | Sounds and Colours." A Musical Journey Through Cumbia | Sounds and Colours. N.p., 5 Dec. 2011. Web. 08 Aug. 2015
GARSD, JASMINE. "Cumbia: The Musical Backbone Of Latin America." NPR. NPR, 8 Feb. 2015. Web. 29 Aug. 2015.
Shepherd, Julianne Escobedo. "Chancha via Circuito Finds Cumbia’s Beating Heart." Cluster Mag. N.p., n.d. Web. 6 Sept. 2015.
Wade, Peter. Music, Race & Nation: Música Tropical in Colombia. Chicago: U of Chicago, 2000.Google Books. Web. 28 Aug. 2015.
"Cumbia | The Rhythm of Colombia." Discover Colombia RSS. N.p., n.d. Web. 08 Aug. 2015.