CUBAN TRANSITIONS

In the early 1990s, rap became an evolving genre of music in Cuba, particularly the urbanized Havana, Cuba. Initially, Rap music was perceived as an imperialist and commercialized art form imposed upon Cuba by the United States. However, the Cuban state began to recognize the ability to reconcile revolutionary ideals with the notion of “message rap”, a style of Rap music that emphasizes conscious expression. By the mid-90s, Cuba succumbed to the pressures of “the Special Period in Time of Peace” and experienced a “cultural perestroika”. In other words, cultural groups and institutions were restructured more commercially such as the Agencia Cubana de Rap (ACR). The more commercialized culture of Cuba spurred the emergence of Reggaetón, a divergent style of rap that embraces music as an “aesthetic cultural commodity” (Reggaetón, Baker). Reggaetón is characterized by vulgar and explicitly sexual and misogynistic language and dance. It does not seem to be a politicized art form, but it has become extremely popular because of its danceable rhythms.

(Cuabn Regaetón) Cubanito 20.02, “Pideme”

On the contrary, “message rap” values language and ideas represented in its lyrics., but it does not offer the most danceable music and rhythm. Nevertheless, Rap Cubano has been coopted into the canon of Cuban National Music.

(Cuban Rap) Hermanos de Causa, “Lágrimas Negras”

Many bureaucrats, representatives of the Cuban state, have identified Reggaetón as a counter-revolutionary musical genre. Therefore, the question is whether Reggatón can be absorbed by the state and re-appropriated to serve the state’s revolutionary ideals.

However I would argue that Reggaetón is not a dissident art form. The music initially, especially the lyrics, seems completely dissident and apolitical. Yet, perhaps the apolitical nature of Reggaetón is a politicized message. Reggaetón seems to preoccupy itself with the body, a carnivalesque concern (i.e. a concern of the working class). Politicized Rap music, in terms of abstract notions such as the state, may not be the most digestible music for the Cuban youth. Therefore, Reggaetón, the popular youth musical movement, may actually be revolutionizing the revolution by presenting more relevant values than those of traditional revolutionary ideals.

Sources:

Reggaetón. “The Politics of Dancing: Reggaetón and Rap in Havana, Cuba”. Geoff Baker. Duke University Press. 2009