Hip-Hop: A Cuban Culture

From 1940-1970, New York’s transformation into an Afro-Cuban cradle reveals the complexity of the melting pot concept of integrating Hispanic Caribbean people’s culture and lifestyle in a foreign place. The social culture of the South Bronx lends itself to the manifestation of Afro-Cuban music and dance cultures. With adolescents, playing stickball and gathering at the jukebox served as a gateway to music. As Benny Bonilla says, “Practically everyone I know in the music business, I met him in the schoolyard. And stickball was what really got me into music” (Bonilla 4:17).

In this article, the speaker must be an expert in politics, ethnicity and the music industry. There is a linkage between the above fields hence the speaker must have had a superlative background on these issues. The audience targeted by this literature were seemingly music enthusiasts to be educated on understanding what Hip-Hop entails and hoped to achieve this as it was established. The subject was Hip-Hop as a music genre that was largely developed by African American men to express their plight on injustice and oppression. The principal issue was how Hip-Hop has been used as a form of resistance and need for deliverance of the African Americans.

One of the more prominent criticisms of hip that Rose points out is that there is a large amount of misplaced blame in the world of hip hop. She writes, “increasingly, too many of hip hop’s supporters point to structural racism to explain the origins of the problem but refuse to link these structural forces to individual action and to the power of media seduction” (p. 73). In this section of the second chapter, Rose is explaining that those who defend commercial hip hop are taking a more-or-less one-dimensional approach to their arguments by solely blaming structural racism and overlooking the

Hip Hop has been a thread of music that is deeply rooted in the struggle within the black communities of America. It acted as a window for people outside of the black community to acknowledge and experience, to an extent, what endeavors those communities encounter. Although Hip Hop’s central purpose is to denote the subjugation that was implemented on the black community, Hip Hop began as a mere offshoot of 1970’s jazz, funk, and soul.

African music has had a major influence on Cuban culture beginning in the early 1550’s through slave trade. Thousands of slaves were brought to Spain in the 1400’s and eventually migrated to Cuba. Since these “Ladinos” were accustomed to Spanish culture and language, they easily were able to get by in Cuba and even escape slavery. As a result, Slave owners in Cuba brought more slaves directly from Africa. In 1526, a Royal Decree allowed slaves to buy their freedom, resulting in increased interaction and ethnic mixing among Cubans and Africans. All aspects of both cultures began to blend, especially among working class Cubans and Africans. Music became a common bond between the two groups

“…the appropriation of hip-hop cultural forms suggest not that whites want a black identity: rather, they want characteristics of blackness.” (Perry 2002, 109). This is quote by Pamela Perry, a sociologist as University of California Santa Cruz, from her book Shades of White:White Kids and Racial Identities in High School. Pamela Perry is a sociologist from University of California, Santa Cruz, throughout her book she touches on the idea of white children developing a sort of identity crisis depending on their environment. This quote helps put the appropriation of African American culture in its simplest terms. In most cases people associate Hip Hop culture with African Americans. With that being said, many artist of different genres who attempt to have a more hip hop vibe, fall subject to appropriating African American Culture. Various artist have been appropriating culture in several different ways whether it’s through dance, sound, or even image.

Hip-Hop isn’t just four elements combined within a culture, it is also “ a way of life, a language, a fashion, a set of values, and a unique perspective” (Efrem 2), the hip-hop basic and sub-elements have a strong impact in the American society mainly on its

Hip-Hop as a subculture was established by Black Americans, the youth in particular because of their marginalization. Mainstream music was made mostly by White Americans for White Americans on topics they could relate to. Even though Hip-Hop started off as just a beat it transformed into something so much more. Jamaica born DJ Clive “Kool Herc” Campbell,  one of the most influential in pioneering the art of hip hop music, brought over many Jamaican traditions including their tradition of toasting, which laid the blueprint for the actual rapping on instrumentals. Toasting is impromptu, boastful poetry and speech over music.

In order to understand hip-hop dance, it is important to recognize hip-hop music and where it came from. Many scholars of rap music relate the founding of rap to African and African American oral and musical traditions, specifically African griots and storytellers. They link the rhythm of rap to the use of drums in Africa and to African American music in the United States, from slave songs and spirituals to jazz and R&B. Scholars have found very interesting connections between rap music and Black nationalist traditions (traditions historically practiced by black people that serve as part of their racial identity). Rap is similar to the “call and response of the black church, the joy and pain of the blues, the jive talk and slang of the hipsters and jazz musicians, the boasting of street talk, the sidesplitting humor of comedians, and the articulateness of black activists.” All of these African American oral traditions, including rap, can be traced back to West African oral traditions. In traditional African societies, the spoken word and oral culture included poetry, storytelling, and speaking to drumbeats. The links between rap music and African American oral and musical traditions demonstrate that hip-hop music represents more than just sound. It represents history. This aspect of it, in my opinion, makes this type of music very unique and makes it carry more value.

Hip-Hop as well as many other artistic cultural forms we practice today can be related back to African culture and various traditions. Author of The Roots and Stylistic Foundations of the Rap Music and Tradition, Cheryl Keyes, discuss’ the spirit, style, tradition, emotions, culture and the delivery of music. Keyes says that many of these practices can be traced back to the West Afrikan Bardic Tradition in particular. When asking many old-school, and culturally involved hip-hop artists about the roots and origins of rap/hip-hop music many of them will refer to Africa.

Similarities between the Cuban Hip-Hop Music Industry and the Cuban Revolution Hip-hop is a musical genre that is popular among the African American community in the US and the youth in other countries such as Cuba. Youths uses this genre of music to express themselves and to address important issues in the society. In the initial years of existence, the Cuban government supported hip-hop because it provided youth employment and had the potential to generate government income in the same way the Jamaican music industry generate government revenue. However, the artists used the platform to raise important issues such as inequality and government heavy-handedness. Therefore, the government imposed a ban on hip-hop, resulting to the development of a thriving underground music industry.

Hip-Hop is a cultural movement that emerged from the dilapidated South Bronx, New York in the early 1970’s. The area’s mostly African American and Puerto Rican residents originated this uniquely American musical genre and culture that over the past four decades has developed into a global sensation impacting the formation of youth culture around the world. The South Bronx was a whirlpool of political, social, and economic upheaval in the years leading up to the inception of Hip-Hop. The early part of the 1970’s found many African American and Hispanic communities desperately seeking relief from the poverty, drug, and crime epidemics engulfing the gang dominated neighborhoods. Hip-Hop proved to be successful as both a creative outlet for

African-American acceptance of Latino culture stems largely from similar experiences of prejudice and shared African roots. In addition, black hip-hop has included various Latino elements, illustrating growing acceptance and integrations between both parties. Various elements present in black hip-hop include Spanglish lyrics, rumba rhythms (Morales 300-301), and the celebration and desire for a Latina woman, who shares similar physique to African-American women (Rivera 131-132). In examining Latino Hip-Hop history, an overall theme of inclusion and exclusion emerges, where Latinos are included if they provide something desirable and marketable and excluded due to their ethnicity. Because of this, the need to affirm Latin identity becomes a necessity in order to solidify the Latino presence within the genre.

In the early 70's, a Jamaican, DJ known as Kool Herc attempted to combine his Jamaican style of disk jockey, that involved reciting improvised rhymes over the dub versions of his reggae records (Davey 1). He also invented turntables, which kept the music going, with the occasional voice on the top of records, which started the roots of rap music. Over time, the culture broke into mainstream, spread around the world, and young people who did not have much to do, created not only multi-million industry, but have also created a way we can speak to each other all around the world. Hip hop is linked to other music such as rap which is embraced by urban black population. It is raw self-expression, sometimes features expletive lyrics, and violence. “Hip hop artists spoke to despair and pain of urban youth and the poor who were often without a voice. The rappers themselves were, the product of that reality, and it was conveyed through their lyrics” (Muhammad 1).

The term ‘hip-hop’ refers to a complex culture compromising of four elements: deejaying, rapping, rhyming, graffiti painting, and b-boying. These elements incorporate hip-hop dance, style, and attitude. “Hip-hop originated in the primarily African American economically depressed South Bronx section of New York City in the late 1970s” (Tate, pg.1). Hip-hop is a culture of fashion, language, music, movement, visual art and expression. The genre of hip-hop comes with a very significant history and evolution with its own heroes, legends, triumphs and downfalls. “Real” hip-hop is often stressed in the 21st century due to what is being passed off as hip hop, and it is often made clear that just because one takes a hip hop class, or listens to hip-hop music, does not mean they conform to the true immersion of hip-hop culture. Therefore, “real” hip-hop encapsulates the true essence of hip-hop culture, untarnished by impurities such as rapacious record labels, and vapid, materialistic subject matter. Due to the background of how and where hip-hop first emerged, the African American culture often feel responsible to protect what is for them, and to protect the culture of hip-hop entirely. Boyd states that even though hip-hop as a culture was created as a social movement, the “commercializaiton” of hip-hop demonstrated in film and media construes it to another form of urbanization and popularity”(Boyd, 79). However, in the two movies being examined in this essay (Save the Last Dance