'El Son de Negro le canta a la libertad': St. Lucia celebrates 25 years of a festival that preserves the Afro memory of the Colombian Caribbean

Santa Lucía, located in the southern Atlantic region of Colombia, kicked off its 25th edition of the National Festival Son de Negro on Friday, August 14, 2026. The three-day celebration brought together 40 groups from the Atlantic, Bolívar, and La Guajira regions, marking a milestone as the festival was officially declared a National Historical, Ethnic, and Cultural Heritage by Congress. This recognition follows the enactment of Law 2520 in 2025, which acknowledged the Afro-Caribbean dance traditions known as Bailes Cantaos Afrodiaspóricos as Intangible Cultural Heritage. The festival began with the symbolic raising of the red flag in the town’s main square, signaling the start of the festivities. Traditional drumming, vibrant dances, and body-painting rituals returned to the streets of this riverine municipality, reinforcing the deep-rooted connection between the community and its cultural heritage. From Friday, August 14, through Sunday, August 16, visitors can experience a range of activities including guided tours, performances, contests, discussions, local cuisine, and concerts. Luis Ricardo Navarro Díaz, a sociologist and cultural researcher who has studied the Son de Negro for a decade, views the festival as more than just entertainment. He describes it as an expression of Afro-descendant communication, history, and resistance. According to Navarro, the rhythms, sounds, and verses of the Son de Negro carry the memory of communities settled around the Canal del Dique, preserving their stories through movement and sound. His research highlights how these practices reflect a daily life shaped by water and nature, offering a unique perspective on the Caribbean region's identity. In his book Son de Negro, ¡Vive! published in 2025 by Uninorte Press, Navarro emphasizes the importance of understanding the festival as a living tradition that upholds the values and cosmologies of Colombian Black communities. He argues that engaging with the music and dance requires recognizing it as a form of socially affirming practice that promotes peace and freedom. The oral transmission of knowledge through song and rhythm, he notes, has kept alive a memory that once circulated among enslaved populations seeking liberation. The origins of the festival trace back to 1996, when Professor Manuel Antonio Pérez Herrera led a group of professionals in Santa Lucía to recover the town’s cultural traditions. Their efforts focused on studying the Danza de Negro, a ritual rooted in the coastal communities of Calamar, San Basilio de Palenque, Soplaviento, and Repelón. The first edition of the festival was organized by the Foundation Por Ti Santa Lucía, laying the foundation for what would become one of Colombia’s most celebrated cultural events. Alexander Jordán, a cultural manager and promoter of the festival, explained that the event continues to serve as a platform for both preservation and innovation. Through workshops and collaborative performances, participants engage with the past while contributing to its ongoing evolution. The festival not only honors historical narratives but also fosters intergenerational dialogue, ensuring that the traditions remain relevant in contemporary society. As the festival unfolds over the coming days, it will continue to draw attention to the rich cultural tapestry of the Caribbean coast, highlighting the resilience and creativity of Afro-descendant communities. With each performance, drumbeat, and shared story, the Son de Negro reaffirms its role as a vital part of Colombia’s national identity.