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    Hip Hop Sidelined but Still Rapping

    MUSIC-CUBA:
    Hip Hop Sidelined but Still Rapping
    Dalia Acosta

    HAVANA, Mar 19 (IPS) – Cuban hip hop music is past its peak, and is
    struggling to survive in a context where it lacks performance venues,
    receives only weak institutional support, and has to compete with more
    commercial music styles alien to the critical discourse that the
    movement has promoted since its origins.

    The abrupt interruption in 2006 of the festivals that had been held for
    a decade in the Alamar district in east Havana was probably the point at
    which the definite decline of this movement began. Today it has hardly
    any venues for concerts or for expressing other aspects of its culture,
    such as graffiti or break dancing.

    These are the findings of a study being undertaken by the University of
    Havana, to which IPS had exclusive access.

    "I think that at this time the hip hop movement is on the wane, perhaps
    because it has already fulfilled its social function, or because its
    historical time is over," said a musicologist from the government Cuban
    Institute of Music (ICM) participating in the research, who requested
    anonymity.

    "We know that the Ministry of Culture is interested in providing more
    venues for concerts, but the real world is another thing," said Magia, a
    singer with the duo Obsesión. Like many members of the hip hop movement,
    she prefers to be known just by her first name.

    Hip hop reached Cuba around the late 1970s or early 1980s via
    international radio stations, the occasional record or cassette brought
    in by people travelling abroad, and contact with the Cuban community in
    the United States.

    The genre's expansion occurred during the economic crisis of the 1990s,
    particularly in poor suburbs of cities like Havana and Santiago de Cuba
    (about 700 kilometres from the capital), where mainly mixed-race,
    relatively marginalised youngsters made U.S. rap music their own, using
    it to express their concerns.

    "Rap brought to light in a positive way our most difficult problems, the
    most negative aspects of our society," said the ICM expert. Social
    inequality, racial discrimination, domestic violence and prostitution,
    among other issues, found expression in hip hop lyrics.

    The first hip hop festival was held in 1995, with the support of the
    non-governmental Asociación Hermanos Saíz (Saíz Brothers' Association),
    a centre for young musicians. The state Cuban Rap Agency was created in
    2002 to produce and market albums and provide professional training for
    groups.

    Although the Agency did contribute to improving the musical quality of
    Cuban rap, it also commercialised the genre, which to some extent was in
    conflict with the community spirit and collective nature that was its
    essence.

    Because of these contradictions, independent projects sprang up, like La
    Fabri_k, started by Obsesión and Doble Filo, aiming to "claim our
    freedom to decide who we work with, who we produce with and who we
    negotiate our work with," according to Vitalicio, a member of Doble Filo.

    Now La Fabri_k is producing an album against violence, and have invited
    groups like Anónimo Consejo and Cuentas Claras to participate. "If you
    wait to be promoted here, for a recording proposal, or a show of
    interest in your project, you can be sure that it'll never happen,"
    Vitalicio told Movimiento, the Cuban Rap Agency magazine.

    In addition to the difficulty in gaining access to a recording studio,
    and the absence of a market in Cuba or abroad, the media are showing
    practically universal lack of interest. With the exception of a few
    radio stations, the rest only broadcast the more commercial type of rap
    made on the island.

    "Most of the decision-makers responsible for what goes into the media
    don't want to listen to what we are saying. They appreciate its value,
    but they are put off by the direct and rebellious way we express
    ourselves," said Sekou Umoja of Anónimo Consejo, who changed his name in
    honour of his African ancestors.

    Writer Roberto Zurbano said that Cuban television, in particular, "has
    corroded the authentic rap message because of the way it has portrayed
    its culture, and the superficial, distorted way in which it has
    presented a partial and 'watered-down' version of rap in Cuba."

    Observers consulted by IPS said that the growing popularity of
    reggaeton, a style derived from hip hop blends with Caribbean sounds,
    but with a very "machista" and materialistic message, has further
    narrowed the chances of air-time for rap.

    Sekou found it hard to understand that in Cuba, "the synonym of all
    things revolutionary, broadcasting the most violent types of U.S. rap
    should be preferred to revolutionary hip hop, which is progressive and
    has a deep message."

    Spawned in the ghettoes of New York City, rap is the core of hip hop
    culture and is based on an electronic mix of background music provided
    by a DJ, over which the rapper recites the lyrics.

    Since its emergence among poor Afro-Americans, it has become an
    alternative activity to crime and violence for young people.

    Rap "criticises inequality, discrimination and oppression, produces
    collective ways of learning about social conditions in specific places,
    and transforms social relations," wrote Arlene Tickner, a professor at
    Los Andes University, Colombia, in an article published by the Cuban
    magazine Temas.

    The social reality of the black community in the United States is
    different from that of African descendants in Cuba, but they both share
    a common historical memory of racial oppression which is still very much
    alive, say the authors of the Havana University study.

    Racial discrimination was officially abolished by the Cuban Revolution
    in 1959, but its expressions remain latent in day to day life. Hip hop
    takes the issue up vigorously, and also criticises marginalisation in a
    society shaken by the economic crisis of the last 15 years.

    "Cuban rappers are people at the grassroots with the critical capacity
    to reject the excessively Eurocentric burden of our culture, because it
    undermines recognition of our own cultural means of expression outside
    of the Western canon, such as Afro-Cuban expressions, popular culture or
    oral culture," said Zurbano.

    Adeyeme Umoja of Anónimo Consejo criticised those who try to "'bleach'
    themselves racially and culturally: Your hair is your hair; your broad
    nose is your nose; your thick lips are your lips, and there is no need
    to have a complex or be concerned about Eurocentric standards of beauty."

    Beyond racial differences, rap lyrics offer young people in the suburbs
    an alternative vision of life, free from drugs or crime. "In our
    environment, if it weren't for hip hop many of us would be in prison or
    dead, or would have floated away on a raft, and I'm not exaggerating,"
    said Alexei, a member of Obsesión. (END/2007)

    http://www.ipsnews.net/news.asp?idnews=36988

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