History Of Hip Hop Culture In Cuba

During the 1980s hip hop arrived in Cuba via radio broadcasts from Miami. Since then the hip hop cultures main focused in breakdancing. By the 90s, with the collapse with the Soviet Union, many young “raperos” were looking for ways to demonstrate their disappointments.

Hip Hop got to be the voice of Black identity, which talked out and negated the Cuban government thought of a colorless personality; you were seen as a Cuban nothing else a progressive thought for its time. Orisha, victory uncovered the characteristic promoting of music from adolescents’ dissent. Cuban rappers brushed off the materialistic viewpoint of American rap music. However, they were enticed by it through guarantee of enormous contracts and a luxurious way of life.

The author focuses her attention on letting people know that Cuban rappers were more “doing it with love”, that hip hop in Cuba is raw. Right now, it feels like hip hop in the U.S. is really diluted and people like for other reasons such as money, cars, girls, etc. But in Cuba people do it for a love of the music because they are not really getting much from it. Cubans are not getting the typical big diamonds. Mr. Herrera, a former professor from Havana University, has taught English and the Hip Hop culture and he also has emerged as Cuban rap’s main spokesperson internationally and at home. Herrera reminded the people that the youngest Cubans needed a voice and that they chose rap music as a way to express themselves in subjects such as racism, tourism, etc. “The purpose of Hip Hop is serving the country, not being an antagonistic tool, he says” He thinks that the idea is to improve what is already in place.

The appearance of Female Cuban artist came after some time. Nowadays, women’s role in hip is constantly growing. However, female artist in Cuba confront a difficult dichotomy of both acting as the powerful female or as the sexy perreo dancer. For instance, Las Kudras, who portray themselves as women’s activist and don’t take part within the nationalized Cuban hip hop scene, are comfortable addressing “hegemonic ideas of womanliness and Black female sexuality”. Yet, female rap groups who have an intrigued in broader, national request have a more difficult time overseeing between their part as a hot entertainer who will be judged by their onstage look and as rappers who are inquisitive about changing the racialized part of women in Cuba.