Cuban Hip-Hop Goes Global
Orishas' A lo cubano
Datos Bibliográficos
| ID | 3979890 |
|---|---|
| Autores | Lea Ramsdell (0000-0003-0464-5343, autor de correspondencia) |
| Año | 2012 |
| Volumen | 33 |
| Número | 1 |
| Páginas | 102-123 |
| Fecha de publicación | 2012-01-01 |
| Peer Reviewed | Sí |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Latin American Music Review (JOURNAL) |
| Identificadores de la revista | ISSN: 0163-0350 • E-ISSN: 1536-0199 |
| Editorial | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/lat.2012.0001 |
| OpenAlex | W4233290389 |
| Idioma | EN |
| Citas recibidas | 2 |
| Referencias citadas | 15 |
The hip-hop group Orishas provides an incisive example of the new terms of Cuban cultural production in the post-Cold War diaspora. They began their dizzy ride on the wave of global fascination with Cuban culture with the debut album A lo cubano (1999), in which they compromised with international market forces while attempting to maintain their cubanía, their own sense of Cubanness. This first release is remarkable for its commercial success not only abroad but also at home. While the music, lyrics, and videos associated with the album revel in cultural symbols only fully appreciated by Cubans who survived the worst years of the Special Period, they also commodify Afro-Cuban culture, making it palatable to a range of international listening publics
Active listening · Aesthetics · Art · Art history · Cold war · Creolization · Diaspora · Literature · Lyrics · Musical · Political science · Politics · Popular culture · Publics · Sociology · Visual arts · Communication · Cuban History and Society · Gender Studies · History · Latin American and Latino Studies · Law · Music History and Culture
| Obras citantes distintas | 2 |
|---|---|
| Citas por año | 0,29 |
| Intervalo de citas | 2019 - 2021 (3) |
| Velocidad de citación | historical |
| Altamente citado | No |
| Tipos de cita | Neutras: 2 |