Miriam Celaya, Translator: Norma Whiting
Osmani García, the scapegoat of the day. Photo taken from the Internet
A disproportionate scandal has been unleashed these past few days around
a vulgar Cuban video clip officially demonized and quasi-banned by the
Culture Minister himself. It is the reggaeton entitled "Chupi Chupi"
whose lyrics, in fact, are such a monument to audio-visual vulgarity
that it could be considered record-breaking within a genre that is
prominent in Cuban music, by its crudeness and by the lack of substance
of its lyrics and images, and the obnoxiousness and repetitiveness of
its refrain.
It is clear from the preceding paragraph that I detest reggaeton, though
I acknowledge and respect the sovereign right of the followers of this
(music genre?) to fully enjoy it, provided that, in turn, it does not
invade my ears with its aggressive and artless lyrics. However, I am
very surprised at the virulence of the official attack on a video clip
that basically does not differ too much from others of equally vulgar,
pornographic and similar insipid content. And if I understand that the
scandal is "disproportionate", it's because in a reggaeton and reggaeton
performer's fight against the formidable cultural and official press
apparatus, the song Chupi Chupi and its author, Osmani García, will be
able to do little to defend themselves.
On the other hand, I cannot understand such last-minute Puritanism in
the face of a phenomenon that has ruled over the Cuban music scene, not
in "recent years", as the high ranking Commissioner with a doctorate in
Arts and Sciences claims in an article published by the press (Granma,
Wednesday, November 23rd, 2011, pages 4-5) — the artistic Commissioner
appointed to sanctify censorship to the public — but for at least the
last two decades. It could be said that the specialist author of the
journalistic diatribe, with the rank of Faculty Professor in the
Department of Musicology at the Higher Institute of Art –- such are her
very polished and lengthy titles and crests — was locked in her ivory
tower, just listening to classic music all this time, therefore she had
not heard that, in effect, musical vulgarity has claimed the throne in
the taste of a good part of the Cuban people. I wonder how someone could
be a specialist in musicology and ignore the process of impoverishment
that has been gnawing away at Cuban popular music in its own environment.
I say this because it is impossible to drive through the streets of this
city without passing a rickshaw dispensing reggaeton in its path, out
loud, polluting the environment with its low-life sounds and the
marginalization of its lyrics. Some bus drivers have similar habits and
share with passengers in their crammed vehicles what they consider the
greatest of musical creations, assuming that they are like-minded and
want to share. The same goes for many of the classic old cars that serve
as taxis on fixed transportation routes, where passengers that pay their
fares have to suffer, whether they like it or not, the dissemination of
reggaeton at high decibels … and God help anyone who dares to suggest to
the driver to turn down the volume! The driver's abuse is worse than the
very lyrics of the music. If you don't believe it, just ask Yoani
Sánchez, who on one occasion had to get off the car because of the
driver's anger when she protested discretely. Since that time, she has
decided to board protected by headphones that allow her to build a
defensive anti-reggaeton barrier, and, at the same time, enjoy her own
music without making trouble or bothering anyone.
But specifically against the "El Chupi" onslaught… I started to think
about other reggaeton and other lyrics that for several years have
occupied the popular taste. Some of these creations are more vulgar and
"stupefying" than others, but all are part of a repertoire under whose
influence many, who are now in their adolescence and youth, have been
brought up. I remember some of those gems, whose lyrics say "suck my
sweet sugar cane, Mom …" another cried out in the voice of a cat in heat
"Aaaayyy, I like Yumas!*…" Another urged: "Suck, suck, suck lollipops,
take them out of your mouth, and put them in your nose…." And so forth,
with the same level of excessively rhythmic idiocy.
These freaks have been a constant even at children's birthday parties,
so-called cultural activities in schools at all levels of education, at
the feasts of the Committees for the Defense of the Revolution, in
Pioneer camping trips and — believe it or not — even at day care center
celebrations, promoted by the organizers of these activities, namely,
teachers, educators, school leaders, cultural promoters, trainers, etc.
At such times, it often happens that competitions are held, and those
children who best mimic the pelvic movements of adults with ease and are
able to "get onto the floor," are the most applauded and encouraged by
adults. So, in effect, a taste for reggaeton has become a widespread
phenomenon. Not by chance was "El Chupi" nominated by popular vote for
the latest and recent Lucas Awards, the annual Cuban video clip contest,
from which it was eliminated by the decision of the Minister, against
the proposal of his highly cultured people.
Until today, I think that promoting this type of music has spread in
Cuba under official protection, aimed at a particular audience: large
masses. Disseminating meaningless lyrics, keeping the public in an
apathetic and lethargic state before the repetition of such empty
refrains, appealing to the exaltation of the sensual and sexual as a way
to alleviate the angst of so many hardships, reducing people to a state
of idiocy, eroding minds and dehumanizing has been a "cultural" strategy
employed by the authorities to channel and control energies, far from
claims and reasoning. On the other hand, this type of thing tends to
reinforce the image of a sexual paradise that is so appealing for the
purposes of encouraging tourism, an economic stake par excellence for
the government, only that, apparently, the image of the Cuban culture
that was being presented is becoming too obscene and, for some unknown
reason, they are putting an end to it.
At any rate, it is known that censure and bans only serve to encourage
the consumption of the forbidden. These days, people have not stopped
commenting on "the case of El Chupi," and those who didn't yet own a
copy of the video clip ran to get it, the reverse effect of the reaction
that turns subversive, and therefore, attractive, everything that upsets
the authorities. Perhaps it is time for media owners to understand that
banning is not what it's about, but diversifying areas and options. It
is time to open up true and total artistic and esthetic freedom and to
allow all avenues for creativity to flow through. That would make Cubans
a more cultured and selective peoples. May reggaeton not continue to be
the only popular nor banned music. This could be another of so many
beginnings we need.
*Translator's note: Yumas are people born in the US.
Translator: Norma Whiting
November 28 2011
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