music inside black communities of colombian pacific coast

8/3/2019 Music Inside Black Communities of Colombian Pacific Coast

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Y O R K U N I V E R S I T Y 2 0 1 1

Carlos A Arcila CProfessor: Rob van der Bliek

MUSI 5010 Problems and Methods of Musical Research 2010-2011

M.A. EthnomusicologyApril 15, 2011

Music Inside Black Communities of

Colombian Pacific Coast



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Table of Contents

Geographic Location ................................................................................................................... 3

Customs and values ..................................................................................................................... 3

Music in community life ............................................................................................................. 4

Conformation of a typical group of Marimba de Chonta and Chirimia group .................... 7

Typical group of Marimba de Chonta ................................................................................... 7

Chirimia Group ......................................................................................................................... 12

Rhythms in the Colombian Pacific Coast ............................................................................... 13

El Currulao ............................................................................................................................ 13

Drums conventions ................................................................................................................ 14

Cununo conventions .............................................................................................................. 14

Guasa conventions ................................................................................................................. 15

Bombo macho ......................................................................................................................... 15

Bombo hembra ....................................................................................................................... 15

Cununo macho ....................................................................................................................... 16

Cununo hembra ..................................................................................................................... 16

Guasa base .............................................................................................................................. 16

Bordon marimba.................................................................................................................... 17

Requinta marimba ................................................................................................................. 17

La Juga ................................................................................................................................... 18

Patacore .................................................................................................................................. 18

Bunde or Chigualo ................................................................................................................. 19

Alabao ..................................................................................................................................... 19

Arrullo or Arrorro, Salve, and Villancico ........................................................................... 19

Contradanza Chocoana ......................................................................................................... 20

Mazurka Chocoana ............................................................................................................... 20

Polka Chocoana ..................................................................................................................... 21

Jota Chocoana ........................................................................................................................ 21

The oral tradition in the Colombian Pacific Coast ................................................................ 21

Bibliography .............................................................................................................................. 24

This essay intends to present a brief overview about the music of the Colombia

Pacific coast, and how the people that are living there, are directly connected with music



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in different moments of their lives. Also, to show how music plays a dual function in

these communities, both religious and profane.

Geographic Location

The Pacific coast is located in the occident of Colombia. It is a zone of 83.170

square kilometers that includes parts of four departments (provinces): Chocó, Valle del

Cauca, Cauca and Nariño. This entire region is characterized by high humidity due to its

higher rainfall, considered one of the highest in the world with an annual average of

4.000 millimeters and in some places of 12.000 millimeters (Martinez 2005).

This zone is inhabited by Afro-Colombians who live inside the richest region of

Colombia because its natural resources, but in very poor conditions. Also, we can find

several indigenous communities belonging to different ethnic groups such as: Embera,

Awa, and Embera-Chami among others (Martinez 2005).

Customs and values

The Colombian Pacific Coast is one of the most important regions in Colombia,

not only for its natural resources, but also for its people. These people, despite of their

marginalized condition, are characterized by an enviable sense of humor, and a

wonderful musical wealth. These black communities are inhabitants with a low level

education due to a lack of schools, high schools, and universities in this region. Also,

the limited participation in development programs from the government, and the huge

presence of subversive groups, which are in opposition to the current government, make

these people migrate to large cities, widening poverty belts, looking for better

opportunities that may improve the quality of their lives. It is worth citing, that these

people do not have a better life in the big cities. They arrived with their lives in a bag;



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all they have are dreams that were growing in their minds day by day. Although these

people are strong in their beliefs, the big city is overwhelming and has no mercy; many

of them end up in prison, for the reason that their families have to eat, and they cannot

get a job easily. Therefore, many become thieves or members of gangs, and just a few

can get a job. The migration of both indigenous and Afro-Colombian communities

remains one of the biggest problems in Colombia.

Those black communities, which remain in the Pacific coastal zone, have a

strong sense of unity, and their families are their most important institution. These

people show a dominant masculine presence in which the father is the economical

support, but women are the backbone of the family. In many cases, the economical

support provided by the father is affected by the fact that many men have two or in

some cases three women as lovers, at the same time, making it much more difficult to

get enough money for all of them. Children start to work at an early age; they go to fish

with their fathers or they stay at home doing housework. The economical situation in

these dysfunctional families is very awful, making women to take the responsibility for

their children changing roles within the relationship. Women become the breadwinners.

Because the idea of many children means a lot of labor support, and the circumstances

of poverty, neglect, abandonment, and lack of government support, became the

principal reason to conform extended families.

Music in community life

Music plays a very important role inside of these Afro-Colombian communities.

The knowledge of these people and their cultures has been transmitted through

generation to generation since they arrived from Occidental Sudan, Congo, Guinea

Coast, and desert zone, all those places are found in Africa. The Yoruba and Bantu were



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the most widespread African cultures in the New Kingdom of Granada (Colombia) in

the XVII century. These groups of slaves were brought to the coastal regions by

Spaniards as slaves to work in the agriculture and mining (Lopez 1980, 69). Many of

these people escaped from the plantations or from mining quadrille, penetrating the

jungle established in remote areas. This new status of freedom and isolation, as

cimarrones, helped them to be purely preserved pure in their own traditions. According

to some scholars, they have the most unadulterated musical expression in Colombia. In

1759, once the English dominance was finish, and Cartagena de Indias started to fall in

importance as a major port for slaves trade, a slave trade was conducted in Chocó

showing a result of 447 slaves with African last name they were: 139 minas, 80

congos,47 araras, 45 carabalies, 30 chambas, 25 chalas, 23 setres, 21 mandingas, 17

popos and 10 tembos. (Mosquera 2004, 37) After the abolition of slavery in Colombia

in 1852 (Archivo General de la Nacion 2008) slaves got their freedom but even so they

were the ones with the largest restrictions to participate in the society (Escalante 1964,

139). They started creating small towns and began to experience life on their own, and

music became an important means to gather people in every event.

As Hortense Powdermaker state, “The Negro did not come here culturally

naked.” (Powdermaker 1939, xi), referring to the African slaves in the Americas, it is

important to notice that the same phenomenon happened in the South Pacific

Colombian coast. We have to be aware that African slaves not only brought their

strength to work, but also their music, customs and beliefs. These slaves were ruled by

the same „Master‟, under the shadow of religion that Europeans used to practice in the

name of King Ferdinand of Aragon and Queen Isabella of Castile, known as the

Catholic King & Queen of Spain(Kwintessential n.d.). These religious activities also

brought by missionaries who were accompanied by music, and slaves were allowed to



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bring drums at these religious services, as part of a Catholicism strategy to converting

them to Christianity. As a result, slaves started playing their drums mixing them with

sacred music (Arango and Valencia 2011). Over time, they appropriated this music to

be part of religious context so characteristic of this region, such as: chigualos,

velatorios, novenarios, velorio de santo, velorio, alumbramiento, guali, angelito bailao,

muerto-alegre and so on (Morales 1983, 221).

The people in the zone of Pacific Littoral have numerous African retentions as

music, musical instruments, dance, ritual, folkways and a large vocabulary, are still

preserved inside of these black communities (Escalante 1964, 172). In like manner, a

lot of customs and Spanish music remain in these communities that have a broad

repertoire of Mazurkas, Polkas, Jotas, Danza, Ronda, Pasillo, and Contradances

(Marulanda 1984). As expressed by Peter Manuel in his book Creolizing Contradance

in the Caribbean, the phenomenon occurred in the Spanish Caribbean with the

prevalence of some music. “The contradance and quadrille, far from flourishing solely

in the insular Caribbean have taken root in various forms and at various times

throughout the Americas, from Peru to Vermont.” (Manuel 2009, 2). Today, these

dances and music are performed in Chocó in the same way that was performed in

Europe since the XVI century. This music is principally preserved in the province of

Chocó, played by wind ensembles, chirimias, and military bands. In addition, this music

has becomes part of the national repertoire from the wind bands through the whole

country (Valencia and Ferrer 1994, 16). The contradance was brought in XVII century

as a dance, and prevails with certain modifications essentially in their instrumentation.

It was performed in ballrooms by military bands or wind bands in leisure time or

because it was the fashionable music for bourgeoisie in Chocó (Marulanda 1984). Later,

we will go into detail about these songs and dances.



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According to Abadia Morales, the Colombian Pacific Coast has plenty of

musical tunes due to three principal factors: the presence of indigenous communities,

the Negro slaves from Africa, and the survival of Spanish songs that today are preserved

with few modifications(Morales 1983, 211). The Currulao is a dance and a tune that can

be considered as principal base rhythm in the zone (212). Inhabitants of this Pacific

region say that Patacore, Bereju, Juga, and Pango among others are rhythms derived

from the Currulao. This music has high emotional levels of interpretation, and therefore

it is very flexible. The making of this music is something truly quixotic when it comes

to transcription. Currulao is in continuous transformation because its variability is a

constant, and principally because this music is learned by oral tradition. So for that

reason, it does not have notation and the orality becomes the main source of

apprenticeship in those communities.

Conformation of a typical group of Marimba de Chonta and

Chirimia group

Typical group of Marimba de Chonta

A typical group of Marimba de Chonta is composed of: one marimba de chonta,

two bombos, two cununos, and five guasas played by the cantaoras.

Marimba de Chonta: Percussion instrument made by a row of small pieces

of wood (chonta) with different measures and width. Under these pieces of wood hang

different pipes of bamboo called “guadua”. These pipes have different measures which

vary in length according to the small pieces of wood that are put above. This instrument

is commonly hung from the ceiling using handmade ropes named “cabuya” (see picture

1) and is played by one or two performers who use four drumsticks that are individually



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wrapped at the top with elastic like natural rare gum. The performer who plays in the

low register side of the marimba is called “bordonero”. The other one, who plays in the

high register part of the marimba, is called “tiplero”.

Fig. 1

Marimba de Chonta, by Carlos Arcila, 2005

Cununos drum: These kinds of drums belong to the single membrane family

and these particular drums are called male and f emale “cununo”. They are made out of

wood and possess a conical barrel shape and measure approximately 60 to 90

centimeters high and 35 to 40 centimeters in diameter. Their bottom is covered with a

round piece of wood “balso” or “machare”. The top part of the instrument is covered

with “tatabro” skin (wild pig) or deer, using a special process and as their manufacturers

say, they are strongly tied with a leather rope. In this manner, wedges are put between

the leather ropes and the external wall of the “cununo” in order to tune it by giving

strong blows to the wedges. The female “cununo”, is almost the same but a little bit

smaller and its tuning is in a higher range than the male “cununo”.



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Fig. 2

Cununos, by Carlos Arcila, 2005

Bombos Macho y Hembra: These kinds of drums belong to the family of

the two membranes. Its construction is a cylindrical emptied drum of “balso” wood and

its ends are covered with membranes called “parches”. The right membrane is made out

of deer skin and the left membrane is made of skin from the male “tatabro”. These

“parches” are held by two rings tied with leather ropes which allow to change the

tuning. The big one is the bombo macho (male drum) called golpeador or hitter, and the

small one is the bombo hembra (female drum) called “arrullador” that means to lull.

Fig. 3



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Bombo Macho and Bombo Hembra, by Carlos Arcila, 2005

Guasa: It is an internodes bamboo called “guadua”, which has more or less fifty

centimeters length and eight centimeters diameter. Inside the guasa are seeds that

produce the sound when it is shaken. The ends are covered with the same wood and

large chonta thorns cross the “guasa”. Its sonority is low and poor, so in a performance,

between five and six “guasas” are used at the same time. This instrument is generally

played by the “cantadoras” or “guasaceras” (female singers).

Fig. 4



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Guasa, by Carlos Arcila, 2005

This typical group of Marimba de Chonta can be used to perform a wide

repertoire of secular and religious music. Different towns of this zone in the Pacific,

play more or less with the same group configuration. Sometimes these groups can be

seen performing with one or two marimba players and three or five guasa players called

“cantaoras”. It is important to know that “cantaoras” are women who sing and play the

guasa at the same time. This does not mean that men are not allowed to sing and play

the guasa, they can do it, but it is much more common for women. Some small groups

can be seen performing currulaos with one “cununo,” one “bombo,” and one

“marimba”. This is not frequently seen but happens in occasion.

Commonly the typical marimba group stands in a semi-circle where the

cantaoras are in front of the group. Behind of them are the male and female cununos and

male and female drums, and beside the drums is the marimba de chonta. This

configuration is the most common standard formation on the scenario or just while they

perform. Another way to perform music in the area of the Pacific Littoral can be seen in

December when the festivities start within a religious context, doing processions and

marches along the main street of the town carrying the statues of saints or the Virgin



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Mary on their shoulders. The marimba is carried by two volunteers in the procession, in

the same way, bombos (male and female drums), cununos (male and female tubular

drums), are carried by the performers while they are playing, while they are marching,

beside the cantaoras (singer woman who also play the guasa) who are singing and

playing. It is worth citing, that in Guapi exists one of the most important religious

celebrations. They are called the “balsadas,” the most colorful celebration and really,

they are amazing. The festival of the town begins with the „Balsadas‟ (many boats

gathered at the river), on December 7th

with the Immaculate. This day, its inhabitants

have a greatest demonstration of joy in celebration of the town‟s patron, on the Guapi

river. These boats are adorned with nature elements that habitants get from the

environment. Also, the river is lit with torches, and the boats carry a group of musicians

who sing and play the music from the region while others burn fireworks (Observatorio

Pacifico y territorio 2011).

Chirimia Group

Today, a typical group of chirimia is comprised of: one bass drum, one snare

drum, a pair of small clashing cymbals, clarinet, saxhorn, and saxophone. The amount

of wind instruments depends on the group configuration. The name “chirimia” comes

from the instrument that Spaniards brought with them during the colonization, which

was very popular in all colonial centers. Groups of chirimia previously played the

melody with carriso flutes (made with wood pipes from the region called carriso, kind

of bamboo) and then the carriso flute was replaced by clarinet.



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The bass drum: It is the same type of drum (bombo macho) that is played

with the marimba group. Its construction is a cylindrical emptied drum of “balso” wood

and its ends are covered with membranes called “parches”.

Snare drum: “a small double-headed drum with one or more snares stretched

across its lower head.” (Merriam-Webster 2011).

Cymbals clashed, clarinet, saxhorn, and saxophone are European

instruments that came with the Spanish military bands.

According to Napoleon Garcia, a priest in Quibdo, the first instruments to arrive

at the municipality of Quibdo came with the Claretian Missionaries. In 1935 the priest

Isaac Rodriguez came to Quibdo, and he founded the parish school of music in 1948.

This school was very important to musical development in Quibdo Chocó. He taught

music theory, composition, and he was conducted the wind band and children‟s choir

(Arango and Valencia 2011).

Rhythms in the Colombian Pacific Coast

El Currulao

The Currulao is the musical genre more representative on the Pacific coast

department (province) Cauca, but is danced and performed in the whole Pacific zone. It

may be part of the profane music, as well as found within the religious context for

special events. Although the Currulao is considered as the most pure musical genre in

Colombia, it cannot be ignored that, it is the result of a mixture of three cultural



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heritages, it is a musical syncretism “Arturo Ramos, the Brazilian anthropologist, was

one of the first to employ it in this context” (Herskovits 1958, xxxvi) in which African,

European, and Indigenous cultures take part in it. The Currulao is “Zambo” and its

mayor traits are African; they can be found present in their drums and responsorial

songs. The following are some musical transcriptions that show the differences

between: bombos, cununos, guasa, and marimba de chonta. These transcriptions are the

result of a long study made in the municipality of Guapi Cauca, and in the city of Cali

Valle, with the most outstanding musicians from the South Pacific coast. To understand

how the instruments are played, I am proposing some conventions for each instrument.

Drums conventions

( Hit the membrane in the left side with the mallet stick.

o Open blow. Hit the membrane with the mallet, letting it vibrate.

Close blow. Hit the membrane muting the sound with the mallet.

Hit the barrel and the membrane at the same time letting it vibrate.

~ Mute the membrane sound with the right hand.

+ Hit the barrel with the mallet stick.

Cununo conventions

a Open blow. Hit the cununo membrane letting it vibrate.

b Close blow. Hit the cununos membrane muting the sound.



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Guasa conventions

* To avoid scattered seeds sound

s To allow scattered seeds sound

Raise the guasa

i Left hand

d right hand

Fig. 5

Bombo macho

Fig. 6

Bombo hembra



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Fig. 7

Cununo macho

Fig. 8

Cununo hembra

Fig. 9

Guasa base



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Fig. 10

Bordon marimba

Fig. 11

Requinta marimba

It is worth to knowing, that the currulao is the mother of 90 % of rhythms in the

region. Therefore, more or less the same pattern can be found in the Juga, Patacore,

Bereju, Bambara negra, Pango, and Bambuco viejo.

The Currulao has a beautiful and somewhat complicated choreography. First, the

men wave a handkerchief following the music metric in a row in front of women. Then,

men dance in front of women drawing an imaginary square on the floor while women



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stay calm in the same place following the time signature of the music. Next, women

move around men dancing backward while they are in the initial position. Next, both

cross back in the centre of the stage and after they move toward the same initial

position. Next, women and men begin stomping alternating their feet, and spinning in

the same place. Next, the couples go to the center of the stage and get face to face and

after that, they make a shaped eight figure for later return to the initial position

stomping, marking the steps. At the end, the couples make one intercropping row lead

by a woman and leave the stage following the music (Marulanda 1984, 236).

La Juga

The word “Juga” is a lexical deturpation of the word “fugue” used in classical

music, in which Johan Sebastian Bach was the maximum exponent, and by reference to

the way in that two voices are singing (Morales 1983, 218).

Patacore

Etymologically, this seems to be derived from a voice, in the language of a tribal

group of Cholo or Embera, designated to the banana plantain (Morales 1983, 213).

Patacore has the same musical structure that can be seen in the Currulao. According to

Genaro Torres Solis, a marimba de chonta performer in Guapi, the differences are in the

“rebueltas”, which means: how the performer plays the “requinta.” As in the Currulao,

the Patacore has “bordon” and “requinta,” but these vary from region to region. As

reported by Guillermo Abadia Morales, Pango, Bereju, and Patacore are very closely

related, having many similarities. The notorious difference lies in the conjugation of

voices when they are performed (214).



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Bunde or Chigualo

This term has a very broad meaning. Many songs that belong to the repertoire of

the Pacific Littoral are called Bunde, but when these songs do not become part of the

playful child repertoire, they are part of the mortuary songs repertoire. The Chigualo or

Bunde is a funeral ritual, like a “death cults” in which the pain for the loss of a familiar

changes in rejoicing and happiness because of the entrance of the child‟s soul in the

kingdom of the spirits. The women put the body of a dead child into a hanging wooden

box. The coffin is pulled and swinging, which represents the travel towards heaven.

This travel, symbolize the transformation of the dead child into an angel. Music,

alcohol, dances, and melancholic song transform the grief into a drunken joy (222).

Alabao

As expressed by Octavio Marulanda in his book El folclor de Colombia, the

Alabao is a choral funeral that takes the chanting of Christian praises, making of it a

funeral song for adults. Women mainly sing it in a non-metrical way. The Alabao is an

a cappella chant (Marulanda 1984, 220).

Arrullo or Arrorro, Salve, and Villancico

In agreement with Abadia Morales, all of them are religious tunes of praise. The

Arrullo or Arrorro, are lullaby chants related with the birth of Jesus Christ, and they can

be performed as a Bunde. The Salve is an Alabao dedicated to the Virgin Mary. Also, it

can be performed in funeral ceremonies. The Villancico is Hispanic in origin as

shepherd song, which has become at Christmas celebration songs. As in Arrullo, the

Villancico may be performed as a Bunde or lullaby (225).



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Contradanza Chocoana

As reported by Peter Manuel in his book, Creolizing Contradance in the

Caribbean, “While some have argued for a French origin of the dance, the prevailing

scholarly consensus traces its origin to sixteenth-century England, once it crossed the

Channel to become enthusiastically adopted and domesticated in France and Holland.”

(Manuel 2009). The contradance arrived to Colombia, settling in the Chocó principally.

To date, the contradanza in Chocó is very commonly performed with a few

modifications, preserving the original figures. As a musical genre the Contradanza

Chocoana is still performed in important cultural events, its time signature is 2/4, and it

has AABB form structure (Morales 1983, 230). The Contradanza like the Mazurka,

Polka, and Jota, is among the richest examples of folkloric dance in Chocó. These

dances were learned by slave miners at the masters parties, they used the same clothes,

ornaments, and musical instruments; albeit these instruments were subjected to some

modifications as occurred with the “flauta de carrizo” which in turn was replaced by the

clarinet, though the structure prevailed as above mentioned. The dance starts with a

quadrille in groups of four holding hands making a circle with lively movements, they

go back and forth with side slopes on both sides (Marulanda 1984, 232).

Mazurka Chocoana

The Mazurka Chocoana is written in triple meter, with an accent on the first beat

of the measure, unlike the accent on the second or third beat, as the Polish Mazurka

folk. In agreement with Leonidas Valencia, in his book El Choco y su Folklore, the

Mazurca Chocoana has a very structured choreography and a lot of body expression,

giving dancers much more elegance (Valencia and Ferrer 1994).



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Polka Chocoana

Like Mazurka and Contradanza Chocoana, the Polka Chocoana came with the

Spanish in time of conquest and colonization (Morales 1983, 229). The Polka

Chocoana, is a ballroom dance invented originally in Eastern Bohemia, Czechoslovakia;

it is an animated couple dance, that upon arriving in Chocó, originated what today is

know as Africa-influenced Polka Chocoana (Valencia and Ferrer 1994, 17).

Jota Chocoana

In Chocó, there are two varieties; one is called simple Jota, and the other, minor

Jota. The minor Jota, refers to the musical tone in which it is played, missing long time

ago in Europe (Morales 1983, 230).

The Contradanza, Mazurka, Jota, and Polka Chocoana are called influenced

tunes, due to their origin and small changes to which they were subjected. These small

changes are reflected in changing the time measure, which is sometimes fast, sometimes

slow, because native musicians started composing music within these formats. These

dances are part of Colombian‟s culture, and they are still being performed by Wind

Bands, and Chirimias (Valencia and Ferrer 1994). The rhythms above mentioned, are

only a few of the large quantity in the region.

The oral tradition in the Colombian Pacific Coast

The oral tradition became an essential part in the culture of Afro-Colombians,

principally in the way that these inhabitants, expresses their lives, and events that are

related to their environment. Singing, and telling histories or transmitting the knowledge

generation to generation. The orality, is the main source of inheritance becoming one of



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the most important aspects for the survival of Pacific culture, keeping alive their culture

and beliefs. Below, there is a history narrated by Genaro Torres Solis, in a conversation

we had at his home, on August 7, 2006, on the vereda Sanson Guapi Cauca.

I remember when my father told me: son, do not let me drop the bambuco viejo

(also called currulao). Believe me that here we danced straight eight days without

stopping; the houses were falling to the ground and got up again. In those days,

everything was good. We would dance, drink guarapo (drink made from the sugar cane)

and play music until we fell down drunk, but everyone takes care of you.

There are many tales that relate the marimba with the devil. There is a special one,

narrated by Genaro Tores Solis:

When my father was here making marimbas, a short man with a small hat made

from leaf of palm tree came and told him: Hi my friend – and my father replied – hello

my friend, I‟m here doing a couple of marimbas – in this moment, the small man

jumped from the stairs that were below and stood beside may dad. My dad began

playing the marimba from this key (on the mid-high range), no, no, no, don‟t play in

that key – said the little man – you should play from here Jose Torres (my father) you

have to play like this; and he showed him how to play two keys up. Then, my father was

the best marimba player ever in this region, because that man came and taught my father

how to play the marimba. I was there, also my mom, but she was in the kitchen and she

asks me: Genaro, yes mom – I answered very polite because we are not rude with our

parents – who‟s that man? - I don‟t know, but he is playing marimba with my dad.

Then, My mom said – hopefully, not the wrong enemy and she saw through the window

and said: Oh yes, he is (referring to the devil) immediately, she began to pray and when

we began looking for him, only saw the smoke that the short man left behind him, but

he left my father very skilled.



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Finally, one can say that music in the Colombian Pacific coast is virginal. It is

waiting to be recognized by the whole world as an important cultural heritage. These

people are full of customs and traditions, their music has been preserved for years, but

today it is in danger; it is disappearing for lack of apprentices interested in continuing

the tradition. The old marimberos are dying and their music is dying with them. As

above-mentioned, these musical syncretism were an experiment in coincidence, but this

coincidence became the heart of our Colombian music, by the combination of the

Indigenous, Spanish and Africans. It is time to look after these Afro-Colombian

communities, helping them to preserve their music and culture. They are part of our

national identity. Fortunately, the Marimba music was added to UNESCO's Intangible

Cultural Heritage List. The UNESCO‟s Intergovernmental Committee made the

decision in Nairobi, Kenya. (Colombia Reports 2011)

http://www.unesco.org/culture/ich/index.php?pg=00011






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music inside black communities of colombian pacific coast

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