Champetúo: la lucha del imaginario delictivo por el capital simbólico en las raíces del Reggaetón

Abstract

It is described the process by which Reggaeton opens the symbolic path to Champeta towards its cultural legitimation through the market, allowing the incorporation of specific criminal imaginary, in the context of the struggles for the appropriation of symbolic capital. Information is contrasted from interviews and ethnographic observations compared between 1998 and 2016 in Cartagena, using intergames (enjeux, in French) as the unifying concept. The article compares Champeta with the Cuban genres of the late nineteenth century and first half of the twentieth century and shows similarities in the use of cultural, sexual, gender, political and economic intergames that transformed their musical forms. Finally, the tensions between the use of guilty curiosity, the female body, the market and popular taste are highlighted, with the aim of providing dissertative elements about music as a tool of politics.