Representando al caserío

Narcocultura y el diario vivir en los videos musicales de reggaetón

Bibliographic Data

ID3979769
AuthorsOmar Ruiz Vega (corresponding author)
Year2018
Volume39
Issue2
Pages229-265
Publication date2018-12-01
Peer ReviewedYes
Open AccessNo
TypeARTICLE
VenueLatin American Music Review (JOURNAL)
Journal identifiersISSN: 0163-0350 • E-ISSN: 1536-0199
PublisherProject MUSE (PUBLISHER • US)
DOI10.7560/lamr39204
OpenAlexW2914781758
LanguageES
Citations received2
References cited10

In this article I analyze fourteen reggaetón music videos to study the representations of narco culture and the Puerto Rican marginalized communities that are discernible in them. Furthermore, I examine why reggaetón artists tend to film music videos in poor barrios and housing projects of Puerto Rico. Important also is discussion concerning the strong and problematic presence of Puerto Rican narco culture in reggaetón music. Such analysis departs from the view commonly held among reggaetón scholars, who tend to regard the genre primarily as a musical expression that reflects the life and problems in the poor barrios and housing projects of Puerto Rico. Instead, I offer an interpretation that is much more critical of the “narco messages” disseminated in the genre. Among other things, I zero in on the way reggaetón’s “narco messages” have helped strengthen the stereotypes prevailing in Puerto Rican society toward marginalized communities. Furthermore, I examine the problematic identity definition promoted through such “narco messages.”

Aesthetics · Art · Ethnology · Humanities · Musical · Puerto rican · Sociology · Visual arts · Cuban History and Society · History · Latin American and Latino Studies · Music History and Culture

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Open DOI