Chamber music used to be almost exclusively defined by a repertoire of string quartets, quintets and piano trios by the elite composers of the 18th and 19th centuries. And the performers were most often male and white.

No more. Chamber music has exploded and expanded during the past 15 years in diverse and intriguing directions. Groups such as the female singing quartet Anonymous 4, the experimental specialists the Kronos Quartet and the contemporary ensemble of diverse instrumentalists eighth blackbird have blown the lid off the once-staid genre.

And they've set the stage for more adventuresome groups -- such as Imani Winds, the all-black wind quintet that will make its Columbus debut Saturday in the Southern Theatre.

The ensemble will perform a program that exemplifies its mission: to "create a legacy of chamber music by ethnicities that have never been seen in classical music," according to group founder Valerie Coleman. On the bill: Escualo and Libertango by Astor Piazzolla (arranged by Imani horn player Jeff Scott); Shadow by Narong Prangcharoen; Kites Over Havana (transcribed by Coleman); Terra Incognita by Wayne Shorter; and Suite Popular Brasileira by Julio Medaglia.

Coleman grew up in Louisville, Ky., as one of "many black kids in the orchestra."

But, she said, "By the time I got to college, I was the only one. It has been part of black culture to think that classical music is not part of our culture. We're saying: 'No, you're wrong. It is part of our culture, and you can be part of it.' "

Coleman, a graduate of the Oberlin Conservatory, founded Imani -- which means "faith" in Swahili -- 10 years ago.

"I was still in grad school (at Mannes College of Music in New York) and realized that school doesn't prepare you for what comes after," she said. "I wanted to take matters into my own hands and started calling around looking for other freelancers."

Soon she had assembled four: Mariam Adam, clarinet; Monica Ellis, bassoon; Scott, French horn; and Toyin Spellman-Diaz, oboe.

"I saw it as an opportunity to give back -- five musicians of color who could become role models for young people out there," she said.

For the first three years, the players worked hard and earned almost nothing.

Then, after a well-received appearance at the Concert Artists Guild Competition, they acquired management and turned fully professional.

"Once people truly commit to something, then the magic can begin," Coleman said. "I believe you can move mountains when everybody turns their energies in the same direction."

The members, all in their 30s, have two exciting projects under way: Along with Paquito D'Rivera, they'll be part of the Apollo Theater debut of the multimedia work Josephine Baker: A Life of Le Jazz Hot on June 3 (Baker's 101st birthday). And they've begun commissioning 10 works to celebrate their 10th anniversary.

The Legacy Commissioning Project will extend over five years and could involve composers such as Alvin Singleton, Billy Childs and Roberto Sierra.

The ensemble is also involved in educational programs, including Carnegie Hall Neighborhood Concerts, Young Audiences of New York and outreach projects sponsored by the Chamber Music Society of Lincoln Center and the Midori Foundation.

Children's music composer Bruce Adolphe, who wrote the piece Zephyronia for Imani, said the ensemble's "extraordinary abilities to communicate with young audiences and their uninhibited, theatrical personalities made it possible for me to create a piece for them that few other wind quintets could perform."

"The Imanis not only played the virtuoso wind parts with wonderful energy and understanding, but they were able to portray the characters in the story like seasoned radio actors. . . . They are fearless, madcap, adventurous, adorable and excellent."

Barbara Zuck is Dispatch senior critic and arts columnist.

bzuck@dispatch.com