The
Colombian village of Palenque de San Basilio was the first colony of freed slaves
ever established in the Americas. It predated Liberia by over one hundred
years. Not surprisingly, the Spanish were less than thrilled with its founder,
Benkos Biohó, who was both a former slave and a former African prince. Biohó
met a tragic end, but Palenque would become one of the leading hubs for African
music in Latin America. Silva Lucas surveys the current Palenque music scene
and examines its cultural implication in Sons
of Benkos, which screens during the 2018 New York African Diaspora International Film Festival.
Although
the Spanish betrayed and executed Biohó, the village remained highly aware of
its African heritage. However, the African influence on local music really
became significant in the 1960s and 1970s, when African styles like Highlife,
Afrobeat, and Makossa came to international prominence. Soon, a “sound system”
sub-culture sprung up, blasting the latest African imports across the
neighborhood. Palenque bands started incorporating African styles, but they
gave them a local twist. Interestingly, there is also an older Cuban son
tradition in Palenque, but it is largely associated with funeral ceremonies.
There
is no question the medium-sized, fifty-two-minute Sons of Benkos is a worthy and informative film, but it will leave
many fans of Latin and African music wanting more (arguably a good sign). We
could have easily followed Lucas on a deep dive into the Palenque scene, but he
basically skims the surface. Of course, he is also analyzing Palenque’s
historical and social significance as a community of former slaves, which is
also important. Still, there should be plenty of music and material to support
a full-feature length documentary treatment—and anyone who sees Benkos would surely be willing to come
back for more.
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