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Product Details
| ISBN-13: | 9780822374954 |
|---|---|
| Publisher: | Duke University Press |
| Publication date: | 11/26/2015 |
| Series: | Refiguring American Music |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 296 |
| File size: | 2 MB |
About the Author
Read an Excerpt
Negro Soy Yo
Hip Hop and Raced Citizenship in Neoliberal Cuba
By Marc D. Perry
Duke University Press
Copyright © 2016 Duke University PressAll rights reserved.
ISBN: 978-0-8223-7495-4
CHAPTER 1
Raced Neoliberalism: Groundings for Hip Hop
To be a poor man is hard, but to be a poor race in a land of dollars is the very bottom of hardships. — W. E. B. Du Bois, The Souls of Black Folk
Dicen que Dios no aprieta, pero Cuba estrangula. Pero a pesar de todo, de mil modos te amo Cuba [They say God does not squeeze, but Cuba strangles. Regardless of all, in a thousand ways I love you, Cuba] — "Mi nación," Los Paisanos
In the summer of 1998 I made my first trip to Havana for a Spanish-language course I had arranged through online sleuthing and e-mail exchanges. I had recently completed my MA work on Garifuna youth and performance in New York City, and having leftover research funds I decided to take the opportunity to visit Cuba while seeking to improve my Spanish skills. Raised in New York City by leftist parents — my father African American, my mother Jewish — who met through their early 1960s activism amid the U.S. civil rights movement, Cuba and its revolution were celebrated in my home as a defiant counterweight to histories of imperial capitalism.
As was the case within many black left circles of the time, the Cuban Revolution's early commitments to racial equity and internationalist support for U.S. black radicals and anticolonial struggles in Africa carried particular resonance in my movement household. Fidel Castro's famed 1960 stay in Harlem and impromptu meeting with Malcolm X at the Hotel Theresa struck an especially intimate chord, occurring around the time of my father's on-air reporting on social justice issues with New York–based WBAI-Pacifica radio, work through which he had interviewed Malcolm X on a number of occasions himself. My mother, moreover, was involved in early solidarity work with the leftist Fair Play for Cuba Committee, while a close aunt visited Havana in the late 1980s as part of a delegation of U.S. health care professionals exploring the island's public health system. Given this familial history, Cuba and its revolution had long occupied a site of intrigue.
Yet while my trip to Havana that summer may have been informed by inherited nostalgias of revolutionary lore, I recognized the necessity of experiencing this mythic Cuba on my own historical terms. Cuba of 1998, of course, was not the Cuba of my parents' era and generation. It had been a decade since the collapse of the Eastern bloc and the end of Cuba's preferential trade with the Soviet Union and its allies. Since the early 1990s the island's ambivalent though ever-deepening engagement with market capitalism had introduced new social incongruencies and heightened levels of contradiction into a once defiant revolutionary socialism. By 1998 the strains were clearly evident even to a foreign visitor such as myself. Of particular note were the ways these developments impacted the island's complexities of race and class, long foci of revolutionary Cuba's efforts to build egalitarianism under state socialism. Such fissures of race and class were also latent sites of historical tension rooted in Cuba's very inception as a modern nation.
I was, as it turns out, fortunate to have arranged an informal homestay with a Cuban family in Havana's western barrio of Playa, a short walking distance from the state-run language school where I was attending daily Spanish classes for payment in U.S. dollars. I met the family through Delmaris, an administrator at the school with whom I had initially been in contact about the program via her workplace e-mail, access to which at the time was highly coveted given Cuba's remarkably (if rather conspicuously) underdeveloped electronic communications infrastructure. Despite recent opens, Cuba has one of the lowest levels of Internet penetration in the hemisphere where private Internet access has long been restricted by the Cuban state as a means of regulating open circulation of information. Delmaris and I were nonetheless able to weave conversation through our exchanges to organize a homestay with her husband's family with whom she lived in a six-story concrete edificio(apartment building) dating from the early 1980s. While Delmaris's light skin, long reddish-brown hair, and distant Chinese ancestry would effectively classify her in Cuban terms as "white," her husband, Amílcar, and his family were decidedly Afro-Cuban.
From there began my time in the three-bedroom home of Lisnida. A retired geography professor, Lisnida shared her flat with her son Amílcar, a state-employed architect, his wife Delmaris, and Lisnida's five-year-old grandson Leni, whose mother, Alma, Lisnida's daughter, worked in the eastern city of Matanzas. As Afro-Cuban professionals, Lisnida and Amílcar were multigenerational beneficiaries of revolutionary Cuba's public investments in education and professional training that enabled black Cubans levels of educational access unseen in the prerevolutionary period. In the case of Lisnida, fidelities to the revolution included a dedication to watching Fidel Castro's marathon speeches on state television and her enthusiasm in sharing this living history with me, a visiting outsider.
As my initial introduction to a performing Fidel as revolutionary institution, I sat with Lisnida for the opening hour or so of one such speech. After feeling I had put in a competent beginner's investment, I headed out for a beer with a friend, only to return a couple of hours later to find an aging Fidel still in full pontificating swing. In truth I was never fully out of Fidel's earshot that evening, as I was accompanied throughout my outing by distant echoes of his seemingly omnipresent voice weaving its way through open windows into the otherwise empty night streets. Yet while numerous households like Lisnida's had theirTVs tuned to the speech, the ghostly quality of the patriarch's voice resonating across carpetless floors seemed to suggest an ever-receding presence. Though this still may indeed have been Fidel's Cuba; the question, though, seemed to be for how long.
In addition to affinities with the island's revolutionary history, Lisnida and her family also held strong identifications as black Cubans. Aware of my interest in Afro-Atlantic cultural lines, for instance, Lisnida sat me down at her kitchen table on a number of occasions to share nuances of Afro-Cuban religious life. Though not a practitioner herself, Lisnida assumed a familial intimacy as she took time identifying varying characteristics differentiating followers of Santería or Regla de Ocha-Lucumí, for instance, from those of Palo Monte, and the secret fraternal society of the Abakuá.
Lisnida's family's embrace of the Afro in Afro-Cuban, however, was not limited to the cultural, nor necessarily bound by the national. I recall Lisnida's son, Amílcar, sharing over dinner one evening the story of his namesake, the late Guinea-Bissauan revolutionary figure Amílcar Cabral, recounting Cabral's leadership in Guinea-Bissau's guerrilla war for independence, along with his 1973 assassination at the hands of the colonial Portuguese. Amílcar's affective ties to this history were far from abstract; Cuba's military involvements in Guinea-Bissau's anticolonial struggle played a critical role in the nation's triumph of independence in 1974. In relaying his narrative, Amílcar expressed a prideful sense of identification with Cabral and Cuba's broader history of anticolonial struggle in Africa, citing key moments from the Congo and Ethiopia to Angola. Having spent significant time in Eastern and Southern Africa myself, our dinner conversations broadened to encompass my own diasporic experiences and solidarity efforts, including media work in Cape Town, South Africa, during the waning years of apartheid.
It was clear from speaking with Amílcar that his understandings of Africa and its recent history — and ultimately his own personal baptism by it — were shaped by legacies of Cuban internationalism and solidarities with African independence movements dating back to the early years of the revolution. Legacies indeed. Guillermo, Amílcar's uncle and Lisnida's brother, who frequently visited the household, served as a mechanic during Cuba's sixteen-year military engagement in Angola.Fighting alongside the ruling MPLA in its war against UNITA rebels backed by the United States, South Africa, and Zaire, upward of ten thousand Cubans were killed during the campaign, significant numbers of whom were Afro-Cuban. While Guillermo spoke little in detail of his time in Angola during his visits — noteworthy given broader official silences around the war's national costs and collective trauma — he did share a sense of pride at having served in Angola's eventual victory. Africa was thus interwoven in the lives of Lisnida's family in complexly imbricated levels of both the personal and national.
Aside from shared ties of diasporic affinity, my relationship with Lisnida's household was clearly also a financial one. While my time with the family enabled entrée to their lives and opportunities to explore relationships, our agreed-upon payment of US$15 per night for food and lodging helped defray, at least temporarily, the family's growing need for U.S dollars. This informal agreement was also clandestine, given recent efforts by the Cuban state to regulate and capitalize on a growing dollar-market for residential room rentals to foreigners. Cubans were now required to pay a hefty monthly dollar-tax for official rental licenses or risk fines upward of $1,500 and the possible threat of property confiscation. For Lisnida and family the risk was apparently worth it; the $15 daily contribution was roughly equivalent to the average monthly peso salary garnered by many public sector employees.
Indeed, despite advanced education and levels of professional achievement, Lisnida's family found themselves dependent on the island's rapidly expanding dollar economy within which it was difficult for most to survive on state-regulated peso salaries. As part of the Cuban state's efforts to capture circulating dollars otherwise destined for the informal black market, basics like soap, clothing, and essential foodstuffs were increasingly restricted to dollar-only purchase in state-run stores. Aptly termed la shopping in Cuban vernacular, these dollar-only stores came to symbolize the early rise of a new dollar-based consumerism in a once definitely nonconsumerist socialist Cuba (see Gordy 2006).
One of the only local dollar stores at the time was, rather ironically, in close proximity to the Russian Embassy with its massive citadel-like office tower peering ominously over the leafy residential barrio of Miramar. With its modest aisles of imported delicacies like pasta, powdered milk, and canned goods alongside cooking oil and detergent, the supermarket was conveniently located to serve Havana's diplomatic corps given the barrio's heavy concentration of foreign embassies. In relatively short order these dollar-only stores became ubiquitous throughout Havana and the broader island. By 2000 some 75–80 percent of dollar remittances by Cubans living abroad — a primary source of circulating dollars — would channel through such state-run stores and into government coffers (Eckstein 2010: 1050).
Within this new reality Lisnida and her family were struggling daily to make ends meet. With no family living abroad to remit potentially life-changing dollars to subsidize their household income, their ability — or was it a sacrificial concession — to rent a room in their cramped apartment to a dollar-paying yuma (foreigner) was something of a momentary windfall, one arising from the privileged work-related access Delmaris, the sole ostensibly "white" member of the household, had to foreigners such as myself. Her coveted position within the island's evolving dollar-based tourism economy was far from unique, however. It was already apparent that white Cubans were favored for hire in tourism-related employment, Cuba's fastest-growing generator of foreign currency following its recent post-Soviet-era turn toward liberalized markets. Although Lisnida and her family were clearly better off in comparison to the severe hardships they and most Cubans endured during the depths of the early 1990s economic crisis, they had clearly entered a new moment of challenge in which dimensions of race and class were reemerging as key factors shaping social opportunity and mobility on the island. Was this the utopic Cuba of my parents' revolutionary-tinged era? Did that Cuba indeed ever quite exist?
My time in Lisnida's home and broader experiences in Havana that summer triggered an urgent curiosity regarding the peculiarities and fraught tensions of a rapidly changing Cuba. Most intriguing, I had heard during my stay of an evolving local hip hop scene, one with an apparently significant level of Afro-Cuban involvement. Reared amid hip hop's urban birth and later exposed to the complexities of hip hop communities in Brazil and South Africa (M. Perry 2008b), I was fascinated by the idea of Cuban hip hop and what insights it might offer regarding the island's current condition and future trajectory. Living a thirty-minute colectivo (collective taxi) ride from Havana's center and well over an hour from the neighboring municipality of Alamar, areas where much of the local hip hop activity at the time was flowering, I unfortunately had little exposure to the music during that initial trip. I did, however, leave that summer determined to return to Havana to explore Cuban hip hop as a window into what was clearly an island in historic flux.
What, then, is the backstory of hip hop's emergence on the island? In what ways might its rise speak to the particularities of Cuba's shifting economic and social terrain? Given Los Paisanos' conflicted allusion to a Cuba that "squeezes" yet remains beloved in their song "Mi nación" referenced in the chapter's opening epigraph, how might enduring tensions of race, nation, and citizenship in light of the island's unfolding neoliberal uncertainties factor into the mix? As I would come to learn, such questions were of both critical concern and daily consequence for many within Havana's hip hop community, while at the same time instrumental to the broader political nature of Cuban hip hop itself.
Market Transitions
It is unquestionable that the 1990s marked a distinctive juncture in Cuba's history, one largely defined by rupture and dissolution following the collapse of the Eastern bloc and the subsequent suspension of Soviet subsidies upon which the Cuban economy and wider revolutionary project had long been dependent. As a consequence, Cuba fell into a severe economic crisis between 1989 and 1993 resulting in a crippling 40 percent reduction in GDP (Jatar-Hausmann 1999: 46). It was during a now infamous 1991 speech before the Congress of the Federation of Cuban Women that Fidel Castro declared el período especial en tiempos de paz, a "special period in peacetime," demanding acute austerity measures aimed at reducing national consumption and expenditure.
While signs of recovery from this special period would begin to emerge after 1996, the resulting and evolving character of Cuban society had unquestionably taken a historic turn. I've heard Cubans painfully recall the early 1990s as el tiempo de los flacos(time of the skinny ones), a period in which acute scarcities of produce, shelved goods, and meat of any kind contributed to endemic nationwide levels of undernourishment. Exacerbating if not strategically exploiting the scenario, the United States tightened its trade embargo during this period, resulting in an estimated $67 billion loss to the Cuban economy by decade's close in addition to an accompanying range of social costs (Hidalgo and Martínez 2000).
By 1993 urgent intervention was needed to stem the deepening economic and ensuing social crisis, compelling Cuba's ambivalent dance with global capital and attending openings to neoliberal market forces. I underscore ambivalent here to speak to the complexly fraught nature of Cuba's recent engagements with neoliberalism. Unlike much of the Global South obligated to accommodate neoliberal reforms by way of international lending and regulatory agencies or regional free-trade agreements such as NAFTA, Cuba's socialist leadership adamantly eschewed any participation within such frameworks. Revolutionary Cuba has indeed been a vehement critic of global free trade, assuming, for instance, vocal membership as a founding partner in the anti-neoliberal bloc ALBA (Alianza Bolivariana para los Pueblos de Nuestra América), formally led by Venezuela's late Hugo Chávez.
(Continues...)
Excerpted from Negro Soy Yo by Marc D. Perry. Copyright © 2016 Duke University Press. Excerpted by permission of Duke University Press.
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Table of Contents
Acknowledgments ixIntroduction 1
1. Raced Neoliberalism: Groundings for Hip Hop 29
2. Hip Hop Cubano: An Emergent Site of Black Life 57
3. New Revolutionary Horizons 91
4. Critical Self-Fashionings and Their Gendering 135
5. Racial Challenges and the State 171
6. Whither Hip Hop Cubano? 199
Postscript 235
Notes 239
References 255
Index 273
What People are Saying About This
"In this much anticipated book, Marc D. Perry provides a nuanced and compelling analysis of how Cuban raperos are crafting new understandings of black selfhood and citizenship in the wake of the collapse of the USSR and Cuba’s ambivalent embrace of neoliberal capitalism. Boldly reflexive, Perry’s intensive, long-term ethnographic research yields a theoretically nuanced and historically attuned perspective on the politics and poetics of racialization both within Cuba’s rapidly changing political imaginary, and across diasporic fields of black cultural production. By all measures, Negro Soy Yo is a masterful contribution to the literature and an ethnographic tour de force."
"Offering a wealth of ethnographic detail, Negro Soy Yo is a welcome addition to the study of international hip-hop, contemporary Cuban culture and society, and the Black Atlantic. Marc D. Perry's foregrounding of the role of race in the history of Cuban hip-hop, and in the transnational engagements of Afro-Cuban culture more broadly, is a crucial contribution."