Special Period - Other Effects

Other Effects

The ideological changes of the Special Period had effects on Cuban society and culture, beyond those on the country. A comprehensive review of these effects concerning ideology, art and popular culture can be found in Ariana Hernandez-Reguant's Cuba in the Special Period. As a result of increased travel and tourism, popular culture developed in new ways. Lisa Knauer, in that volume, describes the circulation of rumba between New York and Havana, and their mutual influences. Antonio Eligio Tonel has described the contemporary art networks that shaped the Cuban art market, and Esther Whitfield the channels through which Cuban literature accessed the wider Spanish speaking world during that period. Elsewhere, Deborah Pacini, Marc Perry, Geoffrey Baker and Sujatha Fernandes extensively wrote about Cuban rap music as a result of these transnational exchanges. In recent years, that is, not in the 1990s which is the period identified with the Special Period, reggaeton has replaced timba as the genre of choice among youth, taking on the explicitly sexual dance moves that originated with timba.

Whereas timba music was a Cuban genre that evolved out of traditional son and jazz, emphasizing blackness and sexuality through sensual dancing, with lyrics that reflected the socio-cultural situation of the period with humor, Cuban hip hop evolved as a socially conscious movement influenced heavily by its kin genre in the United States. Thus it was not so much a product of the Special Period -as timba was- as one of globalization. The Revolution and the blockage of all imports from the US had made the dissemination of American music difficult during the sixties and seventies, as it was often "tainted as music of the enemy and began to disappear from the public view." But all of that changed in the 1990s, when American rappers flocked regularly to Cuba, tourists brought CDs, and North American stations, perfectly audible in Cuba, brought its sounds. Nonetheless, hip hop circulated through informal networks, thus creating a small underground scene of rap enthusiasts located mostly in Havana's Eastern neighborhoods that called the attention of foreign scholars and journalists. Eventually, rappers were offered a space within state cultural networks. The lack of resources to purchase the electronic equipment to produce beats and tracks gives Cuban rap a raw feel that paralleled that of 'old school' music in the US.