Acceso usuarios
Tomás Milanés, Pedro Vázquez Miraz, Graciela Franco
La champeta urbana es un subgénero musical del caribe colombiano que se ha desarrollado históricamente en torno a la sexualización del rol de las mujeres y a su cosificación como objeto de placer masculino. Esta tiene un gran seguimiento e interés en la juventud de esta región, y es el Caribe colombiano el objeto de investigación por ser esta una cultura marcada fuertemente por el machismo y el racismo. Por medio de una investigación de enfoque cualitativo, se pretende estudiar la forma específica en que la champeta urbana hace una descripción sexista de las mujeres. Con ese fin, se tomó como referencia un listado de factores propuesto por el Observatorio de la Imagen de las Mujeres (OIM), entidad pública de España sin ánimo de lucro que tiene una larga trayectoria en la lucha contra el sexismo en los medios de comunicación, que determinan si un contenido es sexista o no. Para ello se analizaron los ocho videoclips más populares en YouTube de dos de los principales cantantes de este género musical (Mr. Black y Kevin Flórez). Los resultados evidenciaron que casi todos los videoclips analizados describieron a las mujeres a través de recursos de corte sexista que ligaban esta estética musical con una visión machista y patriarcal que identifica a las mujeres como un mero objeto de deseo y de recompensa en una sociedad de consumo, si bien también se ha identificado una menor carga de sexismo en este tipo de música respecto a épocas pasadas.
The urban champeta is a musical sub-genre from the Colombian Caribbean that has historically developed around the sexualisation of the role of women and its objectification as an element of male pleasure which has a strong following and interest in the youth of this region.
In this cultural sphere (Colombia's Caribbean Coast) this musical genre, known as champeta, is an art form whose origins date back to African traditions, product of the mixing of cultures in Latin America due to slavery. A specific geographical context (the Colombian Caribbean) characterized by the presence of high levels of male chauvinism and racism in its society, which strongly influences the behaviour and thoughts of the population.
The scientific interest of our research is based on the fact that it is understandable that if a culture promotes sexist values, its music will also promote sexist value (as we think could happen with the most popular champeta songs of today). Thus, the scientific study of the role of women and the presence of violent and sexist components in songs and music videos is an important concern. A fundamental aspect since this is the music that the youth of the Colombian Caribbean listen to (both men and women).
The study of the most popular urban champeta video clips would allow us to identify with tangible data if the traditional sexist discourse is still maintained in current artistic contents of the Caribbean Coast of Colombia more focused on the new generations (or on the contrary, to identify a myth between sexism and urban champeta if this type of music does not really reflect this type of stereotyped visions at the level of the genre), and also to analyse differences (if any) between different urban champeta artists. Through a qualitative research approach, based on a virtual ethnographic design, the aim is to study the specific way in which urban champeta depicts women in a sexist way, taking as a reference a list of factors proposed by the Observatorio de la Imagen de la Mujeres (OIM), a Spanish public non-profit organisation with a long history of fighting sexism in the media, that determine whether a content is sexist or not.
For this purpose, the eight most popular video clips on YouTube of two of the main singers of this musical genre (Mr. Black and Kevin Flórez) were analysed, specifically the two most popular urban champeta singers of Colombia's Caribbean Coast.
The results showed that almost every videoclips analysed depicted women through sexist resources, linking this musical aesthetic with a sexist and patriarchal vision that identifies women as mere objects of desire and reward in a consumer society. Women in the most popular and recent urban champeta in the Caribbean Coast of Colombia has been presented as a sexist image (as an object of heterosexual sexual desire and always subordinate to the man with psychological characteristics indisputably associated with sex whose physical canons are linked to beauty based on youth, slimness and voluptuousness), and in particular as a mere representation of the trophy-woman: an aspect historically associated with the sphere of marketing and commercial advertising. In any case, a progressive decrease of the macho values Interdisciplinaria, 2025, 42(1) Sexismo en la champeta urbana actual present in this type of music has also been evidenced with respect to past times because in recent times very popular urban champeta songs have been found that hardly reflect these same sexual stereotypes.
