Taller SHEBELEZA ingles avanzado intermedio 2

Inglès avanzado

1. SHEBELEZA
Ai shebeleza njalo mama ekuseni mama ne
sthandanwa, Ai congo mame Congo Congo mama

2. TABLE OF CONTENT
INTRODUCTION
THE SONG
CULTURAL HERITAGE
SHEBELEZA
THE MEANING
SHEBELEZA - ZAIRE

3. INTRODUCTION
The topic in this sildes explores about
the cultural appropriation of the african
sounds and, analyze the cultural
significance of the song "Congo Mama"
from the perspectives of its origins in
the Congo and its reinterpretation in
Cartagena, Colombia.
In addittion, we will examine the themes
of cultural appropriation and
appreciation, and how the people of
Cartagena engage with this song.
01

4. THE SONG
The song was written by Joe " Sdumo "
Mafela, a southafrican actor, singer,
producer and bussinesman. The real name
of the song is “Shebeleza”.
Written in the Zulu language and recorded
in 1996 by Gallo RECORDS, it was a
popular success, due to that huge success
it was chosen as the theme song for the
African Cup of Nations in 1996
02

5. SHEBELEZA
The song represents a tribute for the
Democratic republic of Congo. As we can see,
the song is not from the Congo, his author
dedicates this song to the Democratic
Republic of the Congo as encouragement to
fight for tomorrow against adversity.
The word Shebeleza does not have a direct
translation into Spanish or english. In its
extension it means striving for a better
tomorrow, getting ahead.
03

6. 04
THE MEANING
PATRICE LUMUMBA ZAIRE MOBUTU

7. SHEBELEZA - ZAIRE
The real meaning of this song is
because the Congo, then known as
Zaire, the name by which it was known
between October 27, 1971 and May 17,
1997, lived under a dictatorship
under the regime of Mobutu Sese Seko.
The song then tried to give
encouragement to the Congo people,
exalts peace and reflects on the
effects of war.
05

8. 06
CULTURAL HERITAGE
Many things can be said about el
picó, but the truth is that
champeta is that cultural tribute
that is paid to Africans and their
songs.
The name of that musical rhythm
originated from the association
that was born in the imagination
about the relationship of
populations with a kind of knive
and was associated with elements
of vulgarity, poorness and
blackness.

9. 07
CULTURAL HERITAGE
inspired as a result of records
brought to the ports of Cartagena of
African origin, as well as Euro-
African colonies. Later, the musical
genre itself went from being called
Creole therapy to Colombian champeta
People related to this new genre in
Cartagena traveled to countries in
the Antilles and France to acquire
new records that they called
"african champeta", which in turn
inspired the musical phenomenon in
Colombia.

10. CULTURAL HERITAGE
In the 80s in Cartagena, the incipient peak
culture began to play African music records,
it was what was heard the most.
The processes of appropriation that African
music has suffered in Cartagena speak more
of a cultural hybridization that has been
based on new processes of mediation and
cultural appropriation of roots.
Presencia histórica y cultural de África en
Cartagena de Indias y su entorno - [article]
Oscar CASTILLO CASTRO
08

11. Champeta is a contemporary
rhythm that was born 42 years
ago in the city of Cartagena
de Indias (Colombia) with a
great influence from the town
of San Basilio de Palenque and
that through the Caribbean
Music meetings of the 80s that
took place in Cartagena later
spread nationally and
reciprocally influenced
similar international genres
such as Raggamuffin and
others.
09
CONCLUSIONS
shebeleza - begins the
champeta
Statue of Liberty
CHOREOGRAPHY
PICK UP - PICO

12. This musical genre has, as its unique elements, a
temporal division of three accelerations, the
initial music, the chorus and a third element
called the espeluque, which is typical of strong
and repetitive rhythms generally accompanied by
plates (digital interventions).
With a popular and inventive language, the
champeteros sing about their experiences. The
lyrics, superimposed on African tracks or with
original music, show the rebellious attitude of
the discriminated Afro-Cartagena sectors, who
attack social and economic exclusion or tell
their dreams of change and progress.
10
CONCLUSIONS
Statue of Liberty
Mount Rushmore
Alcatraz Island

13. Recently this culture of social fact has
appropriated differential artistic aspects to the
musical genre itself, such as those manifested in
cinema, literature and the plastic arts.4 In the
conference Champeta: the Truth of the Story, the
researcher Enrique Luis Muñoz notes, how in the
salsa environments of Cartagena, the expression
champetúo was already used outside the culinary
context to designate the problematic person with
rustic manners.
11CONCLUSIONS

14. THANK YOU