Abstract
ABSTRACTChampeta is music from around the Black Atlantic played by large sound systems called picós in the cities of Colombia’s Caribbean coast. I argue that champeta is comprised of the mutual co-constitution of a system of exchange (through which music, technological devices and material artefacts circulate), a social system (in which local and transnational networks of people are organised around particular picós to participate in that system of exchange) and an aesthetic system (which dramatises the social networks’ access to the system of exchange by encoding those processes into sound). In doing so, I suggest that the entanglement of these three fields might be understood through economic anthropology, materiality, informal economies and Manuel DeLanda’s interpretation of the assemblage.
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