This paper aims to present groups, cultures and scenes next to or emerged from the
private creations handed by the urban music producers in the city of Santiago de
Cuba. This is an ambitious objective, due to the several manifestations entailed to
the polyhedral sphere of producers and consumers of urban music, for instance, the
rap-reggae scene, the Rastafari culture or the “reggaetonera” music culture. Despite
of the protagonists of these expressions are alike in the point that their practices ...
This paper aims to present groups, cultures and scenes next to or emerged from the
private creations handed by the urban music producers in the city of Santiago de
Cuba. This is an ambitious objective, due to the several manifestations entailed to
the polyhedral sphere of producers and consumers of urban music, for instance, the
rap-reggae scene, the Rastafari culture or the “reggaetonera” music culture. Despite
of the protagonists of these expressions are alike in the point that their practices are
relatively independent of the state management, their different tastes, objectives and
cultural capitals allow them to take distance of each other.
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