Champeta Colombiana Champeta Criolla Champetas Cartageneras Videos De Champeta Baile Champeta Colombian Music Colombia Barranquilla Champeta Africana Clasica Baile Champeta Cartagena
| Champeta Colombiana | Champeta Criolla | Champetas Cartageneras | Videos De Champeta | Baile Champeta | Colombian Music | Colombia Barranquilla Champeta Africana Clasica | Baile Champeta Cartagena |
| Champeta | Music_of_Colombia | J_Balvin | Isa_GT | Carlos_Vives | Locos_Por_Juana | List_of_South_American_folk_music_traditions | Glossary_of_Colombian_music | Caribbean_Region,_Colombia | Mahlathini_and_the_Mahotella_Queens | Andrea_Echeverri | Ernesto_McCausland | Eu_Quero_Tchu,_Eu_Quero_Tcha | List_of_Caribbean_music_genres |
|Cultural origins||African, Antilles, Colombian|
|Typical instruments||voice, percussion, bass, electric guitar, synthesiser, keyboard|
|champeta criolla , champeta urbana , champeta africana|
|Cartagena, Palenque of San Basilio|
Champeta is a genre of folk music and dance originating in the Atlantic coastal regions of Colombia.
Champeta originated among inhabitants of African descent of the Colombian cities of Cartagena de Indias and Barranquilla, and was linked with the culture of the Palenque of San Basilio district. It shows influences of musical genres from Euro-African colonial settlements and from the continent of Africa. 
The word “champeta” originally denoted a short, curved knife of the same name, used in the region at work, in the kitchen and as an offensive weapon. The word is first known to have been 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.
Socio-cultural researchers and sociologists have established that at some time before the 1920s the term “champetudo” started to be applied to residents of the more outlying districts of Cartagena, who tended to be poorer and of African descent. The term was applied by the economic élite with the intention of disparaging this surviving culture, with associations of vulgarity, poverty and blackness. Thus “champeta” refers to a culture whose history is marked by slavery and mistreatment. At the start of the 1970s Champeta culture became better-known in Colombia due to the development of a set of complex dances set to the rhythms of salsa and jíbaro and later reggae. This music was played at full volume through big loudspeakers known locally as “picós” (from the English word “pick-up”). These early dances were called “therapy” for their relaxing nature, a distraction from the economic problems of the country.
Around 1981 “creole therapy” emerged as a musical genre to be performed and sung. Among its sources of inspiration was recorded music brought into the port of Cartagena from Africa and from other Euro-African settlements. Its first composers were people of African descent from Cartagena and Palenque de San Basilio, later joined by songwriters and entrepreneurs from  During the 1990s champeta underwent further changes in its musical and other content, with the introduction of digital techniques and “placas” (interruptions counter to the rhythm). Despite its social origins, champeta came to be as much appreciated as rejected by the social élite.
In champeta music the rhythmic base dominates over the melodic and harmonic lines, producing a music easy to dance to and marked by its strength and plasticity. The instruments used include the voice, percussion, electric guitar, bass, conga drums, and the synthesiser which contributes rhythmic effects. This musical form is characterised by a division into three sequential parts: the introductory music, the chorus, and a third element known as “el Despeluque”, marked by powerful repetitive rhythms and usually accompanied by “placas”. Song lyrics often display the rebellious attitude of Cartagena people of African descent, challenging social and economic exclusion or relating their dreams of change and progress.
The standard conception of champeta includes four central aspects: musical expression, the distinctive language, the loudspeakers (“picós”), and the “perreos” – celebrations. Some give equal importance to other aspects such as dance, political activism, costume, or videos. More recently this cultural phenomenon has spread to other art forms such as cinema, literature and the plastic arts.
Abril and Soto (2004) identify as “champeta stars” those artists who have transcended their local background and signed contracts with big national and international music companies. These include “El Sayayín” (El Oveja.