Every year during the Barranquilla Carnival, music plays a fundamental role, as the festival’s iconic songs echo throughout the city. On every corner — from official parades to neighborhood street parties — melodies that have been passed down from generation to generation can be heard, and today they are considered true anthems of the Carnival. These songs not only energize the celebration but also tell the story, humor, traditions, and spirit of Colombia’s Caribbean region.
Among the most iconic are Te Olvide, La Guacherna, La Reina de la Cumbia, Se va el caiman, La Puya Loca, Joselito Carnaval, Carnaval de mi Curramba, La Tumba Catre, and La Danza del Garabato. All of them are part of the soundtrack that accompanies comparsas, cumbia groups, and costumes, becoming a defining sound symbol of the Carnival.
Songs that shaped the history of the Barranquilla Carnival
Talking about the Barranquilla Carnival means talking about Te Olvide, considered its ultimate anthem. Premiered in 1954 as a garabato dance piece, with lyrics by Spanish poet Mariano San Ildefonso and arrangements by maestro Antonio Maria Peñaloza, the song blends melancholy with festive rhythm. Its chandé foundation and connection to the Garabato Dance turned it into a musical expression that captures the essence of the Carnival: transforming sadness into collective celebration.
Another essential song is La Guacherna, composed in 1974 by Esthercita Forero, known as “The Sweetheart of Barranquilla.” The song gave identity to the nighttime parade of the same name, inspired by old celebrations in Barrio Abajo, where neighbors would go out with lanterns, drums, and guaches to announce the arrival of the festivities.
Meanwhile, La Reina de la Cumbia, by maestro Jose Barros, celebrates cumbia as the mother rhythm of the Caribbean. Its presence in parades and dance groups reaffirms cumbia as a cultural symbol of the region.
Also noteworthy is Se Va el Caiman, by Jose Maria Peñaranda, with its easy-to-chant chorus and humorous tone, reflecting the festive and playful spirit of the Caribbean coast. The song tells the story of a man who, trying to spy on women, was partially turned into an alligator with a potion and ended up fleeing toward Barranquilla.
Songs that tell the story of the celebration and its characters
Other iconic melodies are linked to traditional moments and characters. Joselito Carnaval, composed by Lucho Bermudez, symbolizes the end of the festivities with the “death” of the character who partied without rest. It represents the joyful yet nostalgic farewell to the Carnival.
Carnaval de mi Curramba — as the city is popularly known — popularized by Venezuelan singer Nelson Henriquez in the 1970s, pays tribute to Barranquilla, “Curramba la Bella,” highlighting its joy and vibrant colors.
In terms of fast-paced rhythm, La Puya Loca stands out as an example of the puya genre, one of the fastest in Colombian folklore, bringing energy to street parties and parades.
The repertoire also includes La Tumba Catre, performed by Juan Piña, a festive fandango full of Caribbean mischief that celebrates dancing and the carefree spirit of the celebration.
Finally, the music associated with La Danza del Garabato represents the symbolic struggle between life and death. With colorful costumes, the garabato as a central element, and the rhythm of the chandé, this folkloric expression is one of the most visually and musically striking of the Carnival.