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Cumbia villera is a subgenre of Argentine cumbia that originated in the villas miseria (i.e. slums or shanty towns) of Buenos Aires and its conurbation during the late 1990s.

The emergence and success of cumbia villera is today considered one of the fundamental milestones in the recent history of Argentine popular music.

Music
Cumbia villera is one of the many subgenres of cumbia music and is characterized by its simplicity. On a musical level, its distinctive feature is the use of electronic instruments such as keyboards and synthesizers, which introduced new sounds to Argentine cumbia.

Its rhythm is defined by a cell that is typical to all cumbia music and is repeated throughout the entire song, with a binary form and a time signature. Its tempo is invariably Andante (𝅗𝅥 = 83/84 M.M.) and does not use any dynamic markings. Regarding harmony, cumbia villera generally uses the minor scale, with D minor being the preferred tonality.

Lyrics
The cumbia villera was born as a cultural expression of the marginalized groups of the villas miseria, and its lyrics include fun but also denounce oppression.

The lyrics focus on partying, the use of drugs and alcohol, prostitution, sex, single mothers and crime, but also redemption, romantic love and the denunciation of the oppression of marginalized groups.

According to researcher María Laura Pardo, the lyrics of cumbia villera present several features of postmodernism.

Examples include "No me quiero curar" (2002) by Pibes Chorros and "El fumanchero" (2004) by Damas Gratis.

https://www.clarin.com/rn/ideas/Cumbia-pasion-multitudes_0_rkaHhjf2Pmx.html

1955–1990: Previous history of Argentine cumbia
The style may have also been influenced by the cumbia sonidera of Mexico due to its use of electronic music instruments.

1991–2002: Origins and consolidation
The history of the musical group Amar Azul is fundamental to understanding the emergence of cumbia villera.

The 1999 release of Flor de Piedra's debut studio album La vanda más loca is considered the beginning of cumbia villera.

Cumbia villera was consolidated as a musical style with the work of Damas Gratis and Pibes Chorros.

Researchers Manuel Massone and Mariano De Filippis argued that: ...cumbia villera is not born, nor is it created, but it is the evolution of the tropical genre that occurs at a time of extreme social tension where the sector that already consumed cumbia transforms it into a symbolic tool of denunciation, identity reaffirmation and desperate exclamation of attention, in the face of the astonishing complicit indifference of the rest of society that will only react when its individual class interests are injured, in December 2001, with the "corralito" and the fall of convertibility.