Colombian Culture Essay Samples

Discussions about national identity in Latin America date back to the independence period, when local elites struggled to define the character of the new republics emerging from the Iberian Empires.1 Due to the high levels of miscegenation of colonial societies, race was central to the debates dealing with national identity. What would be the role of people of mixed descent in the new republican order? Were slaves and indigenous populations to be incorporated as citizens? Who could vote, and who was eligible to run for office? These were some of the questions at play during the Spanish American Revolutionary era and the independence era that followed.

Colombia was no exception. It had the third largest population of Africans and those of African descent in the Americas, after Brazil and the United States (and the first in Spanish America).2 Cartagena, on the Caribbean coast, was a principal slave trade port in the Atlantic; thousands of Africans disembarked and were sent as slaves to other parts of the Viceroyalty, especially to the mining areas in the West.3 But these people were denied most privileges, as a system of racial hierarchy barred slaves and even free people of color from universities and positions of status within society. Under Spanish rule, prestige and social status were associated with whiteness, and rights and privileges were, likewise, limited to those of lighter skin. Indeed, historian Marixa Lasso demonstrates that those who could not claim white and legitimate status were denied access to education and political rights.4 Things began to change with the Bourbon reforms in the eighteenth-century, when, seeking to revitalize the Spanish Empire, the monarchs and other imperial administrators created avenues for pardo (people of mixed white and black ancestry) inclusion. In 1778, for example, a royal decree created the pardo militias, thus giving people of color a chance to acquire social status through military service. A few years later, in 1795, another decree regularized an already-existing practice: the gracias a sacar, or royal waivers, a means through which pardos could obtain the same legal privileges as whites in exchange for service to the crown and a monetary “donation.” 5

Creole elites responded to such reforms with concern. Cartagena’s cabildo (a local institution of government, similar to a town hall), for instance, petitioned against the 1795 law that allowed the creation of pardo militias. They were not only unhappy with the prospect of widening the social spectrum to include non-whites, but also afraid that arming people of color and former slaves could lead to armed rebellions. The Haitian Revolution significantly contributed to this fear. As slaves in the former colony of Saint-Domingue rose up and destroyed slavery and colonialism simultaneously, creole elites and colonial officials across the Atlantic world saw slave revolts and race wars as a terrifying possibility.6 In Colombia, these tensions reached their height once the fights for independence began, because both the liberals (who were fighting for independence) and the royalists (who fought to preserve the monarchy) felt the need to attract the support of non-whites in order to win the war—or, in other words, to arm them.7 Indeed, slaves and free people of color actively participated in Colombia’s wars of independence, either fighting alongside liberal rebels or defending the Spanish king. One of the strategies employed by independence advocates to guarantee non-white support for their cause was to commit to the idea that a free republic would entail racial equality. This “myth of racial harmony,” as Marixa Lasso calls it, created a discourse that linked national identity to racial integration and equality. And yet, once independence was achieved in 1819, a large percentage of the non-white population remained excluded from the nation. The 1832 Constitution counted only free men as citizens and Slavery was not abolished in Colombia until 1851.8

This continued civil and political exclusion during the independence era significantly affected national memory and history as well. Traditional narratives of nation building largely disregarded the contributions made by people of African-descent and indigenous populations. For instance, the very first history of Colombia’s wars of independence, written by one of its protagonists (and Bolívar’s minister of the interior), José Manuel Restrepo, attested to the presence of non-whites in the struggles, but attributed their participation as motivated by money and alcohol rather than politics.9 This kind of interpretation that largely denigrated people of color was widespread not only in Colombia, but in most Latin American countries throughout the nineteenth century. In forging a national history after independence, most republics in the Americas adopted a positivist trope that emphasized great men and their deeds. The rise of positivism and other ideas of progress associated with whiteness in the late nineteenth century led not only to the dissemination of national histories centered around (white creole) heroes, but also to pessimistic assessments regarding the future. In Colombia in the early twentieth century, intellectuals and politicians saw the massive non-white population as a barrier to the country’s development and prosperity.

All of these factors led to yet another form of exclusion: exclusion from scholarship. According to Peter Wade, the myth of racial democracy was so powerful and pervasive in Colombia that for decades, studies of blacks in the country were relegated to the fields of ethnohistory and anthropology.10 Such studies tended to be either folkloric, or based on the criminal anthropology theories of Cesare Lombroso,11 highly influential at the time. It was not until the 1960s that the field of black studies experienced a real shift in Colombia, when a generation of black intellectuals began to change the discourse. In the 1970s and 1980s, several black organizations and associations appeared in Colombia and began pressing for change.12 This movement did not emerge in a vacuum: during those decades, the country faced social and political unrest as the population expressed awareness and discontent about the myth of racial democracy’s limits, and multiple guerrilla groups fought for opposing political projects. It was not until the end of the 1980s that several guerrillas agreed to put down arms in exchange for reinsertion into civil society.13 Elected in 1989, President César Gaviria took office in 1990 with the promise to call for a referendum, and that year the people of Colombia voted for a Constitutional reform. Elections to the Constituent Assembly were held, and the commission began work.14 In 1991, Colombia issued a new constitution, and article 7 of the new charter declared Colombia as a plural-ethnic and multicultural nation.15

Civil society played a significant role in this constitutional change, and black and indigenous leadership were essential in inscribing non-whites into the charter.16 Manuel Zapata Olivella contributed greatly to this change, with his intense campaign to promote Afro-Hispanic culture in Colombia in particular, and in Latin America as a whole.17 In all of his work, be it at the Fundación de Investigaciones Folklóricas, which he founded and directed, at the Congress of Black Culture in the Americas, or through novels such as Changó, el gran putas (1983), Zapata Olivella sought to highlight the contributions made by people of African-descent.18 He recognized, however, that black contributions in Colombia (and in fact in the Americas as a whole) should not be limited to what existed in documents, especially because he was aware of their exclusion from memory, history, and scholarship. Zapata Olivella believed that oral history was a repository for the philosophy, behavior, and ideas of the oppressed, and thus a particularly relevant means through which to record and publicize black contributions.19 This belief motivated the project Voz de los Abuelos, which Zapata Olivella developed in cooperation with the Colombian Ministry of Education. The project dictated that, in order to graduate, high school students should conduct interviews with the elderly—the abuelos, or grandparents in Spanish—,often times illiterate members of their communities whose memories spoke to a variety of themes relating to Afro-Colombian practices and beliefs. Following the constitutional reform in 1991, Zapata Olivella designed an educational resource that sought to inform Colombians about their African roots and promote Afro-Colombian culture: the Enciclopedia Audiovisual de la Identidad Colombiana. This resource, developed by his Fundación, consisted of didactic materials such as tapes, pictures, slides, and texts exploring topics related to Colombia’s identity and history. The Enciclopedia Audiovisual could be purchased by schools and other governmental organizations to instruct students or workers; there was also a version for radio broadcast and a lecture series that Zapata Olivella offered in his efforts to reach as many people as possible.

Political reform and black activism have gone a long way toward improving Afro-Colombian realities. But contemporary Colombia is far from being an actual multicultural nation. Despite positive reforms achieved in 1991, some of the promises made in the charter are yet to be implemented. For example, the establishment of a National Development Plan for black communities remains on paper only due to budgetary issues.20 Similarly, in 1993, legislation designated collective ownership of ancestral lands for black communities in the Colombian Pacific, but has thus far transferred land titles of only half of the area that the project encompasses.21 In addition, violence and armed conflicts have displaced local communities, forcing internal migration processes that have affected the daily lives of thousands of Colombians—especially on the Pacific coast. Some of the black communities who had secured their communal lands through the 1993 law were forced to leave due to armed guerrilla violence; others, who were in the process of petitioning for land titles, had to abandon their projects for the same reason. Violence, according to Carlos Agudelo, has killed several black leaders, and black organizations have been left without guidance.22 While the government seems optimistic about pacification, crime rates remain high. As in many parts of the Americas, Colombia’s black population suffers the consequences of the never-ending nation-building process.

Discover the Exceptionally Multifarious Culture of Colombia

The culture of a country is expressed through its art, literature, music, cuisine, festivals, and most importantly, its people. The culture of Colombia is diverse, owing to the cultural influences of different countries. In this Buzzle article, we tell you about the Colombian culture.
It's Colombia, NOT Columbia
Colombians started a social media campaign on Facebook by this name. It was intended to make people aware of not just the spelling error in the country's name, but the mistaken view of their country. The campaigners wanted to tell the world what Colombia really is, with the purpose of promoting tourism to the country and boosting its economy.
Geographically, Colombia consists of five main natural regions; namely, the Andes mountain ranges, the Caribbean Sea coastal region, the Pacific Ocean coastal region, the Llanos (plains), and the Amazon rainforest. Colombia is located in the northwestern region of South America. This has led to a diversity in the culture of Colombia. Moreover, globalization and urbanization have changed the Colombian way of living.
Spanish culture has greatly influenced Colombia's culture. It brought in Catholicism, the feudal encomienda system, the African slaves, and the system that favored the European-born whites. The Blacks mingled with the indigenous people of Colombia; carnivals gave them this opportunity. This mix created a blend of cultures. The banishment of slavery from society, and the industrialization in the 20th century that took place after the establishment of the Republic of Colombia, boosted their economy and culture. Here we give you an overview of the culture of Colombia, the republic in northwestern South America that is known for its emeralds and coffee.
✦ Colombian art ranges from the sculptures and paintings of the ancient times to modern-day films, theater, and various other art forms. It has a rich history of over 3000 years. Colombia has produced artists like Alejandro Obregon and Fernando Botero.
✦ Gold work, stonework, and pottery were an important part of Colombian sculpture. Their handicrafts have a long history that can be traced back to the stone age.

✦ In many parts of Colombia, fiber-tempered ceramics were produced. Sand-tempered coiled ceramics were made in some parts like Puerto Hormiga. In the mountainous region on the Colombia-Ecuador border, pottery had patterns inspired by animal or snake skin. Vessels were used in burials to keep the belongings of the deceased.

✦ Tumaco people of the Pacific coast did gold work. Poporo Quimbaya is one of the most precious pieces of gold work that belongs to the Pre-Columbian period.
✦ The years between 200 BCE and 800 CE witnessed the erection of several ceremonial centers, sarcophagi, and large stone monoliths. People living in Tierradentro made underground tombs with decorated walls and ceilings.

✦ The period between the 16th and 18th centuries saw works of ecclesiastic art that bore Spanish influences.

✦ The paintings in Colombia were distributed across the colonial, Baroque, and Republican periods.

✦ Renaissance and medieval styles were the subjects of paintings done in the early colonial period. A painting of Virgin Mary by Alonso de Narváez from Seville is one of the famous works of this period. Sopo Archangels is a collection of oil paintings that belong to this period.
✦ The Baroque period starting around 1600 AD was characterized by paintings that featured emotionalism, large gestures, and populism. The creolized Colombian form of Baroque painting evolved during this period. It was a blend of forms and subjects of European engravings and native motifs.

✦ Mexican murals influenced the 20th century Colombian art. This period witnessed world-famous artists like Omar Rayo.
✦ Colombian literature of the colonial period focused on religion. Most of the expressions involved Spanish influences.

✦ Literature of the post-independence period was based on political thoughts and movements.

✦ During the nineteenth and twentieth centuries, peasant life came to be depicted in the Colombian literature.

✦ The industrialization in Latin America during the 20th century led to the poetic movement called Piedra y cielo. The violence during the 1940s and '50s led to the Nadaísta (Nothing-ist) movement.

✦ Mystery became a subject to write on, in the modern times. Children's literature that includes nursery rhymes and folk tales forms an important part of the literature of Colombia. Gabriel Garcia Marquez, one of the most significant authors of the 20th century and a Nobel Prize winner, is a Colombian.

✦ Colombian folk stories include tales of legendary figures that have been passed down through generations. They have African, Native American, and Spanish influences.
✦ Music is one of the most beautiful expressions of any culture. The Colombian culture includes a variety of music genres. Song and dance accompany special events of the common man's life.
Man and woman dancing Cumbia
✦ Cumbia, one of the genres of Colombian music, is a blend of African and Spanish music styles. Vallenato that comes from the Caribbean region of this country, is a popular folk music form in Colombia.
✦ Salsa, born in Puerto Rico and Cuba, is popular in Colombia.

✦ Champeta, Abozao, Juga, Pilon, Porro, Seis, Socca, and Tambora are some of the other music genres in different parts of Colombia.

✦ The Colombian music of the present times includes hip hop, pop, and rock music. Shakira, a prominent name in the music industry, is from Colombia.

✦ Guitar, shakers, and drums are among the musical instruments of Colombia. Typical to their music is the Colombian tiple which belongs to the guitar family and is almost three-fourth its size.
✦ The Colombian Constitution has granted freedom of religion to its people. Before 1991, Catholicism was the official religion of Colombia. It is the main religion in Colombia, with about 75% of the population in nominal Catholicism in which around 25% people are practicing Catholics.

✦ During the colonial period, the health as well as the education facilities came under the Catholic Church. The culture of Colombia has accepted freedom of religion and it is apparent in its diversified population.
✦ The Colombian food shows a reflection of the European style of cooking. Inland recipes also bear Amerindian influences.

✦ Colombian coffee is famous the world over, for its quality.

✦ Fritanga that includes grilled beef and chicken, ribs, and sausage with potatoes, is a favorite dish of the Colombians. Tubers and meat make their staple food.

✦ Ajiaco is a traditional meat dish in the Andes region of Colombia. It was born in Bogota.
✦ Bandeja Paisa that was born in Antioquia includes an assortment of beans, rice, fried eggs, chorizo, and pork rind, among other foods that vary with the location.
✦ Changua (milk soup with eggs) is a breakfast soup of the Andean region. Soups like sancocho de gallina (chicken soup with root vegetables) and ajiaco (potato and corn soup) are also popular.

✦ Tamales are popular in the Tolima region. Rondon, a seafood is popular in the island regions. Coconut rice is popular in the coastal regions. Dishes in the Amazon are influenced by the cooking styles of Brazil and Peru.

✦ Manjar Blanco, a creamy dessert, Arroz con Coco (coconut rice pudding), and Natilla, a custard-like pudding made from cornstarch are among the Colombian desserts.

✦ Colombians generally have hot chocolate with cheese. It is added to hot chocolate and allowed to melt, after which one can have it with a spoon. It tastes good that way.
✦ The climate of Colombia is conducive to a variety of crops and fruits. Varieties of banana are native to Colombia. Apart from this, mangoes, apples, pears, strawberries, and blackberries are also grown. Both fresh and saltwater fish are plentiful in Colombia. The popular dishes vary across the different natural regions of the country.
Performers during the carnival of Barranquilla
✦ Easter, Christmas, and New Year are widely celebrated in Colombia.

✦ The carnivals held on various occasions form an important part of the Colombian culture.
Battle of flowers in the carnival of Barranquilla
✦ The 4-day long Barranquilla's Carnival is a major folklore celebration and one of the biggest carnivals in the world. It includes a host of street dances, parades, and musical performances. It begins on Ash Wednesday with an event called Battle of the Flowers. The Monday and Tuesday of the carnival are public holidays in the city of Barranquilla.
✦ Cali Fair is held towards the end of December. It includes events such as the Salsa marathon, horse riding, and dance parties. It is the main event of the Pacific coast of Colombia organized in the City of Cali. It celebrates the diversity in this region.

✦ Then comes the Manizales Festival, which is organized in January and bears European and Spanish influences. It includes events such as bull runs as also a beauty pageant in which the International Queen of Coffee is announced.

✦ The Festival of Flowers is an important cultural event hosted in Medellin. Rock al Parque is a rock music festival hosted in Bogota. The traditionally celebrated Blacks and Whites' Carnival held in January is the largest cultural event in Southern Colombia.
✦ The diverse population of Colombia mirrors the history and diverse culture of Colombians. Their diverse population consists of the Amerindians, Africans, Asians, and people of the Middle East, as also those who have migrated from Europe. Most of the Colombian populace is mestizo.
Colombian dancers in traditional dresses
✦ In the interiors of the Andean region, urban people prefer dark-colored suits. Farmers and members of the lower classes wear loose skirts or pants. Clothing of people inhabiting the coastal regions has Caribbean influences. The people there wear loose-fitting dresses with bright colors and prints.
✦ Farmers and tradesmen wear the ruana, a traditional piece of clothing. Urban people in the Andean region too wear ruanas. Liqui liqui is the national costume of men in Colombia as also in Venezuela.

✦ The sombrero vueltiao is a traditional hat worn by Colombians which is also a national symbol of this country.
✦ 49% of the Colombian population is mestizo (mixed European and the earliest Amerindian ancestry), 37% are of the European ancestry, a little over 10% are black Africans, and a little more than 3% have Amerindian ancestry.

✦ Over fifty different indigenous ethnic groups live in Colombia. They speak languages of the Chibchan and Caribbean families. About 500,000 people speak indigenous languages. More than 80 languages are spoken across the country.

✦ With passing years, the population of Colombia has increased and also progressed in terms of education and overall development. Basic education is compulsory by law.

✦ Family is an important institution and people have a great sense of responsibility towards the members of their immediate and extended family. Children generally stay with their parents.

✦ According to a survey, the people of Colombia are among the happiest in the world.
Colombians are proud of their richly diverse culture. The culture of Colombia is indeed a combination of the 'traditional' and the 'modern'. It is this blend that makes Colombia a wonderful multicultural country.

0 Thoughts to “Colombian Culture Essay Samples

Leave a comment

L'indirizzo email non verrà pubblicato. I campi obbligatori sono contrassegnati *