Cultural Agency and Political Struggle in the Era of the Indio Permitido

In Negro Soy Yo Marc D. Perry explores Cuba’s hip hop movement as a window into the racial complexities of the island’s ongoing transition from revolutionary socialism toward free-market capitalism. Centering on the music and lives of black-identified raperos (rappers), Perry examines the ways these young artists craft notions of black Cuban identity and racial citizenship, along with calls for racial justice, at the fraught confluence of growing Afro-Cuban marginalization and long held perceptions of Cuba as a non-racial nation. Situating hip hop within a long history of Cuban racial politics, Perry discusses the artistic and cultural exchanges between raperos and North American rappers and activists, and their relationships with older Afro-Cuban intellectuals and African American political exiles. He also examines critiques of Cuban patriarchy by female raperos, the competing rise of reggaeton, as well as state efforts to incorporate hip hop into its cultural institutions. At this pivotal moment of Cuban-U.S. relations, Perry's analysis illuminates the evolving dynamics of race, agency, and neoliberal transformation amid a Cuba in historic flux.

Negro Soy Yo: Hip Hop and Raced Citizenship in Neoliberal Cuba

This essay examines how the “black” racial significance of hip hop culture is received, interpreted, and redeployed within the Afro-Atlantic world. Beyond questions of cultural consumption and reproduction, it is argued that hip hop's expanding global reach has facilitated the contemporary making and moving of black diasporic subjects themselves. Here, African descendant youth in an array of locales use the performative contours of hip hop to mobilize notions of black-self in ways that are at one time both contestive and transcendent of nationally bound racial framings. Hip hop in this way can be seen as enabling a current global (re)mapping of black political imaginaries via social dynamics of diaspora. In pursuing this argument, this essay looks toward hip hop movements in Brazil, Cuba, and South Africa as compelling, yet varying examples of how transnationally attuned identities of blackness are marshaled in the fashioning of diasporic subjects through hip hop.

Global black self-fashionings: hip hop as diasporic space

Deborah Pacini Hernandez

Papers

Deborah pacini hernandez and reebee garofalo: hip hop in havana rap, race and national identity in contemporary cuba

The emergence of rap Cubano: an historical perspective

Building Bridges Across the Digital Divide: An Interview with Giovanni Savino