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Buena Vista in the Club: The Rise and Fall of Cuban Hip Hop

俱乐部里的布埃纳维斯塔：古巴嘻哈的兴衰

基本信息

批准号：
AH/F014481/1
负责人：
Geoffrey Baker
金额：
$ 2.45万
依托单位：
Royal Holloway University of London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2009
资助国家：
英国
起止时间：
2009 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FF014481%2F1
关键词：
Buena Vista Club Rise Fall

项目摘要

Buena Vista in the Club: The Rise and Fall of Cuban Hip Hop' is a study of hip hop culture in the Cuban capital, Havana. Examining the assimilation of recent transnational musical trends in Cuba, it traces the emergence of Havana as one of the key cities of global hip hop and a hotbed of socially-committed rap (rap is the musical style which forms one element of hip hop culture; the other elements are DJ-ing, breakdancing, and graffiti). Placing the conflicted yet symbiotic relationship between rappers and the Cuban state at the heart of my analysis, I explore the rapid growth and the equally precipitate decline of hip hop in Havana as both a response to and a window on the dramatic social and economic changes that have occurred since the collapse of the Soviet Union and the start of the post-Soviet 'Special Period' in Cuba.An Ethnography of Hip Hop in HavanaDrawing on six periods of fieldwork in Havana since 2003, my study provides a first-hand account of the Havana hip hop scene. In addition to observing numerous performances, recording sessions, official meetings, and informal gatherings, I have interviewed many of the founding figures of Cuban hip hop, together with the cultural officials and intermediaries who played key roles in the institutionalization of rap in Cuba. These interviews and ethnographic observations are interwoven with commentary on a wide range of press articles, documentary films, recordings and videos, presenting a multi-layered analysis of Cuban hip hop culture. I characterize Cuban hip hop as urban discourse and urban practice, since it must be understood in relation to recent changes in the physical and social fabric of the Cuban capital and to the opportunities and restrictions of life in a late socialist city.The Rise and Fall of Cuban Hip HopMy study examines both the growth of hip hop into a significant cultural movement within Havana and also its sudden decline, which began in 2002 with the influx of reggaetón, a more commercialized musical style of Puerto Rican origin, into the capital. Since then, many leading figures within the underground rap scene have 'converted' to the rival genre of reggaetón or have left Cuba. I look carefully at the reasons behind the boom and bust of rap in Havana, exploring the role of foreign journalists and documentary makers in the construction of the hip hop scene. I analyze the subsequent divisions over the divergent musical and dance styles of 'underground' rap, fusion, and reggaetón, and trace the international dispersion of many of the rap scene's leading figures as reggaetón tightened its hold. I examine whether foreign observers and scholars of Cuban hip hop have tended to overstate the political potential of the genre. The celebratory tone of cultural studies approaches to global hip hop is called into question by the elision of the idealistic, socially-committed discourses of Cuban rap by the hedonistic, materialistic messages of reggaetón, often from the mouths of the same artists.Rap, Reggaetón, and State Cultural PolicyOne of the most distinctive features of the emergence of Cuban hip hop has been the unprecedented involvement of the state. My account focuses on the Asociación Hermanos Saíz (the cultural wing of the Union of Young Communists) and the government-run Cuban Rap Agency, a unique institution within the world of global hip hop. I pay close attention to the ways in which different branches of the Cuban state have contributed to and reacted against the boom in popularity of rap in the 1990s and reggaetón in the 2000s, both genres that posed major, though very different, challenges to Cuban revolutionary culture. I explore the conflicting attitudes displayed by the cultural officials and artists who have played leading roles in these organizations, while also analyzing the complex role of the Cuban media in disseminating and restricting these musical genres.The issue of cultural policy is thus central to my research.

《俱乐部中的Buena Vista：古巴嘻哈的兴衰》是对古巴首都哈瓦那嘻哈文化的研究。它考察了古巴最近跨国音乐潮流的同化，追溯了哈瓦那作为全球嘻哈的中心城市之一和社会承诺说唱的温床(说唱是构成嘻哈文化元素之一的音乐风格；其他元素是DJ、霹雳舞和涂鸦)的出现。我把说唱歌手和古巴政府之间矛盾而又共生的关系作为我分析的核心，我探索了哈瓦那嘻哈的快速增长和同样急剧的衰落，作为对苏联解体和后苏联时期古巴开始以来发生的戏剧性社会和经济变化的回应和窗口。哈瓦那嘻哈的民族志自2003年以来在哈瓦那进行了六个时期的实地考察，我的研究为哈瓦那的嘻哈场景提供了第一手的描述。除了观看许多表演、录音会议、正式会议和非正式聚会外，我还采访了古巴嘻哈的许多创始人物，以及在古巴说唱制度化中发挥关键作用的文化官员和中间人。这些采访和民族志观察与对广泛的新闻文章、纪录片、录音和视频的评论交织在一起，呈现了对古巴嘻哈文化的多层次分析。我将古巴嘻哈描述为城市话语和城市实践，因为必须结合古巴首都最近物质和社会结构的变化以及一个晚期社会主义城市的生活机会和限制来理解它。古巴嘻哈的兴衰我的研究既考察了嘻哈成长为哈瓦那一项重要文化运动的过程，也考察了它的突然衰落，始于2002年，当时起源于波多黎各的更商业化的音乐风格reggaetón涌入首都。从那时起，地下说唱领域的许多领军人物要么转投了与之竞争的雷格顿风格，要么离开了古巴。我仔细研究了哈瓦那说唱繁荣和萧条背后的原因，探索了外国记者和纪录片制作人在嘻哈场景构建中的作用。我分析了随后在不同的音乐和舞蹈风格上的分歧，包括地下说唱、融合和雷格顿，并追踪了随着雷格顿收紧控制，说唱领域许多领军人物在国际上的分散。我考察了古巴嘻哈的外国观察家和学者是否倾向于夸大这一流派的政治潜力。全球嘻哈文化研究方法的庆祝基调受到质疑，因为古巴说唱的理想主义、社会承诺的话语被雷格顿的享乐主义、物质主义的信息所省略，这些信息通常来自同一个艺人的嘴巴。说唱、雷格顿和国家文化政策古巴嘻哈的出现最显著的特征之一是国家前所未有的参与。我的账户主要关注ASocial ación Hermanos Síz(青年共产党人联盟的文化分支)和政府运营的古巴说唱机构，这是全球嘻哈界的一个独特机构。我密切关注古巴政府的不同分支在20世纪90年代和21世纪头10年对说唱和雷格顿流行的贡献和反应，这两种流派都对古巴革命文化构成了重大挑战，尽管非常不同。我探讨了在这些组织中发挥主导作用的文化官员和艺术家所表现出的相互矛盾的态度，同时也分析了古巴媒体在传播和限制这些音乐流派方面的复杂作用。因此，文化政策问题是我研究的核心。