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2222 No.22,220142
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REPRESENT!CUBA:!HAVANA!HIP!HOP!UNDER!THE!LENS!
2
Geoff2Baker2
Royal2Holloway,2University2of2London2
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Between&1997&and&2010,&the&Havana&hip&hop&scene&was&the&subject&of&some&two&
dozen& documentaries,& the& majority& by& non?Cubans.& This& article& considers& how&
the& act& of& film& making& may& participate& in& the& dual& process& of& transnational&
connection& and& division,& and& explores& the& politics& and& ethics& of& transnational&
cultural& production,& reception,& and& representation.& While& documentaries& have&
given&Havana&rappers&a&voice,&they&have&also&exposed&them&to&the&“tourist&gaze”&
(Urry&1990)&and&have&actively&shaped&the&hip&hop&scene&on&the&ground&as&well&as&
on& film.& Film& makers& were& not& only& documenting& censorship& but& actually&
indirectly&responsible&for&it,&and&they&played&a&role&in&the&local&hip&hop&economy.&
Events&involving&Cuba’s&leading&hip&hop&group,&Los&Aldeanos,&illustrated&the&risks&
that& accompanied& the& transnational& circulation& of& filmed& images.& Such&
problematics& are& elevated& to& a& central& theme& of& Anna& Boden& and& Ryan& Fleck’s2
Young2Rebels.22
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2
When2you2develop2your2idea,2when2you2make2your2documentary,2when2you2do2your2job,2you2
are2going2to2do2it2in2a2way,2without2meaning2to,2that2when2you2show2it2to2anyone,2we’re2going2
to2look2like2gusanos2[worms].2People2who2don’t2agree2with2the2government,2or2anything.2No,2
no,2no,2it’s2unavoidable.2
=Aldo2Rodríguez2(Los2Aldeanos),2speaking2to2camera2in2the2documentary,2Pa’lante2
2
2 In2one2of2the2few2critical2interventions2on2the2topic2of2Cuban2hip2hop2documentaries,2
Alan2 West=Durán2 (n.d.)2 notes2 how2 the2 film,2 La& FabriK,& documents2 the2 difficulties2 and2
disappointments2 that2 Cuban2 rappers2 have2 faced2 in2 bridging2 the2 gap2 with2 the2 United2 States,2
while2 at2 the2 same2 time2 illustrating2 a2 “profound2 afro=diasporic2 dialogue”2 across2 political2
frontiers.2I2would2like2to2push2this2idea2a2step2further2and2consider2how2the2act2of2film2making2

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itself2 may2 participate2 in2 this2 dual2 process2 of2 transnational2 division2 and2 connection.2 Between2
19972 and2 2010,2 the2 Havana2 hip2 hop2 scene2 was2 the2 subject2 of2 at2 least2 two2 dozen2
documentaries,2almost2certainly2more2(it2is2hard2to2keep2track),2the2majority2of2them2by2non=
Cubans,2illustrating2a2degree2of2foreign2interest2that2exceeded2hip2hop’s2cultural2space2in2the2
city.2 This2 sheer2 volume2 of2 foreign2 documentary2 production2 both2 exemplifies2 and2 has2
intensified2 the2 marked2 transnationalism2 of2 this2 scene,2 which2 has2 been2 nourished2 by2 the2
transnational2 flow2 not2 just2 of2 disembodied2 music,2 but2 also2 of2 human2 beings2 and2 material2
resources.2 It2 also2 raises2 questions2 over2 the2 politics2 and2 ethics2 of2 transnational2 cultural2
production,2reception,2and2representation.2What2effects2has2this2intense2burst2of2documentary2
making2had2on2the2Havana2hip2hop2scene?2Does2it2matter2that2it2has2been2primarily2in2foreign2
hands?2To2what2extent2have2documentary2makers2elided2or2reflected2on2such2questions?22
2 During2a2number2of2years2of2researching2Cuban2hip2hop2and2making2repeated2visits2to2
Havana,2I2have2watched2many2documentaries2on2the2topic.2The2films2in2question2range2from2
the2 factual2 to2 the2 symbolic,2 the2 construction2 of2 history2 to2 the2 construction2 of2 conceptual2
bridges,2 but2 limited2 space2 obliges2 me2 to2 generalize2 in2 the2 full2 knowledge2 that2 each2 of2 my2
remarks2 will2 be2 relevant2 to2 some2 films2 and2 not2 to2 others.2 My2 aim2 here2 is2 primarily2 to2 raise2
broad2 questions2 about2 the2 politics2 and2 ethics2 of2 film2 making2 rather2 than2 analyze2 individual2
films2in2detail2or2critique2particular2film2makers2(with2a2couple2of2exceptions).2Nevertheless,2I2
firmly2believe2that2some2hip2hop2documentary2makers2have2worked2in2ethically2sound2ways2in2
Havana,2that2many2have2tried2to,2and2that2most2have2had2a2sincere2interest2in2and2sympathy2
for2their2subjects.2As2someone2who2has2made2films2about2rumba,2I2have2first=hand2experience2
of2the2challenges2and2dilemmas2of2filming2in2Cuba.12It2is2also2important2to2bear2in2mind2that2the2
ethical2 principles2 of2 documentary2 making2 are2 far2 from2 established:2 a2 recent2 study2 based2 on2
interviews2 with2 many2 experienced2 documentary2 makers2 revealed2 uncertainty2 and2
disagreements2over2ethical2questions2and2a2high2degree2of2pragmatism2because2of2the2need2to2
make2or2remake2rules2on2the2spot2(Aufderheide2et2al.22009).2As2a2result,2the2ground2on2which2
to2base2an2ethical2critique2of2documentary2making2is2not2clearly2staked2out.22

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2 There2 have2 been2 isolated2 attempts2 to2 examine2 Cuban2 hip2 hop2 documentaries,2 for2
example,2 in2 three2 articles2 (including2 West=Durán’s)2 in2 the2 sixth2 edition2 of2 Movimiento,2 the2
Cuban2hip2hop2magazine,2though2the2analysis2of2the2politics2and2ethics2of2film2making2is2limited2
and2in2some2aspects2quite2wide2of2the2mark.2For2example,2Félix2Mauricio2Sáez’s2(n.d.)2criticism2
of2Eli2Jacobs=Fantauzzi,2the2director2of2Inventos,2shows2little2understanding2of2the2practicalities2
of2small=scale,2independent2film2making,2and2its2comparison2of2the2director2with2Wim2Wenders2
and2Christopher2Columbus2does2not2move2the2debate2forward2very2far.2It2also2elides2the2fact2
that2the2director2made2efforts2to2unite2and2promote2émigré2Cuban2rappers2now2living2in2the2
U.S.,2 above2 all2 through2 his2 Mujeres& de& hip& hop& cubano2 tour,2 and2 that2 he—like2 other2 film2
makers2and2researchers—donated2equipment2to2artists2on2the2island.2There2are2good2reasons2
for2critiquing2both2broad2aspects2and2particular2instances2of2the2Cuban2hip2hop2documentary2
boom,2but2not2all2critiques2are2equally2valid.2
2
Film!making!and!the!tourist!gaze!
2 Since2 the2 release2 of2 Joe2 Wentrup’s2 Más& voltaje& –& más& volumen,& rap& en& Cuba2 (1997),2
films2 and2 film2 makers2 have2 played2 a2 vital2 role2 in2 establishing2 the2 international2 influence2 of2
Cuban2 hip2 hop. 2 2Indeed,2 this2 impact2 has2 been2 mediated2 primarily2 by2 film2 rather2 than2
recordings;2 by2 2010,2 many2 more2 documentaries2 had2 been2 produced2 for2 international2
consumption2than2official2albums.2Films2have2given2rappers2an2international2stage2on2which2to2
present2 themselves,2 compensating2 for2 a2 relative2 lack2 of2 interest2 from2 the2 media2 and2 music2
industry2within2Cuba.2Kokino2(Anónimo2Consejo)2and2Papo2Record2both2use2the2film2Cuban&Hip&
Hop&All&Stars2to2make2an2explicit2pitch2via2the2lens2to2foreign2music2impresarios.2Furthermore,2
the2idea2that2film2has2served2Cuban2artists2as2a2vital2outlet2to2the2wider2world2was2confirmed2
to2me2by2Soandres2del2Río2(Hermanos2de2Causa),2one2of2the2protagonists2of2East&of&Havana,2
who2 told2 me2 that2 documentaries2 had2 enabled2 him2 to2 overcome2 internal2 political2 problems,2
local2 media2 neglect,2 and2 the2 U.S.2 blockade2 of2 Cuba2 to2 assert2 his2 existence2 and2 forge2 a2
connection2with2New2York,2the2home2of2hip2hop.2The2plethora2of2hip2hop2documentaries2has2
thus2provided2a2valuable2window2onto2the2Havana2scene,2providing2artists2with2much=needed2

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projection2 and2 stimulating2 international2 acclaim2 and2 connections,2 and2 there2 is2 recognition2
among2artists2of2the2potential2and2real2opportunities2that2films2have2opened2up.2
2 Nevertheless,2the2sheer2quantity2of2lenses2pointed2at2Havana2hip2hoppers2raises2some2
interesting,2and2at2times2awkward,2questions.2Hip2hop2has2never2been2the2dominant2form2of2
popular2 music2 in2 Havana,2 yet2 many2 more2 films2 have2 been2 made2 about2 it2 than2 about2 timba2
(Cuban2salsa)2or2reggaetón,2commercial2genres2that2are2far2more2widely2consumed.2The2body2
of2 hip2 hop2 films2 points2 not2 just2 to2 a2 fascination2 with2 the2 genre,2 but2 also2 to2 a2 more2 general2
foreign2 interest2 in2 alternative2 or2 underground2 culture,2 and2 a2 certain2 aversion2 to2 the2
mainstream.2It2is2perhaps2worth2asking2what2lies2behind2this2attraction:2Why2have2the2biggest2
stars2 in2 Cuban2 popular2 music2 been2 relatively2 neglected2 in2 favor2 of2 artists2 that2 many2 Cubans2
have2 never2 heard2 of?2 Why2 do2 we2 foreigners2 want2 to2 go2 “underground”?2 Why2 are2 we2 not2
content2to2explore2the2“surface”2that2most2Cubans2enjoy?2
2 In2 a2 context2 in2 which2 foreign2 tourism2 looms2 so2 large,2 this2 predilection2 for2 the2
underground2 might2 suggest2 a2 rejection2 of2 the2 “tourist2 gaze”2 (Urry2 1990)2 and2 its2 filmed2
counterparts2 like2 Buena& Vista& Social& Club.2 Yet,2 in2 considering2 the2 activities2 of2 foreign2 film2
makers2 who2 work2 in2 a2 touristic2 environment2 and2 produce2 images2 primarily2 for2 foreign2
consumption,2one2cannot2ignore2that2such2film2making2overlaps2with2tourism2in2multiple2ways.2
Furthermore,2 the2 urge2 to2 “get2 beneath2 the2 surface”2 to2 see2 the2 “real2 city”2 is2 central2 to2
contemporary2tourism2and2to2the2intensive2foreign2visualization2of2Havana2since2the2end2of2the2
Soviet2era2and2the2resulting2economic2crisis2of2the2early21990s,2known2as2the2Special2Period.2At2
the2very2least,2there2are2notable2parallels2between2filming2and2tourism;2to2put2it2more2strongly,2
as2Ana2María2Dopico2does,2“tourism2is2the2only2gaze2in2town”2(464).22This2gaze2is2both2exploited2
and2 critiqued2 in2 the2 best=selling2 novels2 of2 Pedro2 Juan2 Gutiérrez,2 such2 as2 Trilogía& Sucia& de& La&
Habana,2 in2 which2 the2 voyeur2 and2 the2 camera=toting2 tourist2 are2 recurrent2 (and2 frequently2
mocked)2 figures2 (Whitfield2 2008).2 The2 status2 of2 the2 foreigner2 who2 watches,2 photographs,2 or2
films2is2problematized,2raising2concomitant2questions2of2power,2inequality,2and2transnational2
relations.2 As2 both2 artists2 and2 scholars2 have2 noted,2 then,2 the2 capturing2 of2 Havana2 by2 foreign2
lenses2 is2 far2 from2 an2 innocent2 exercise,2 indeed2 it2 is2 sometimes2 viewed2 as2 a2 form2 of2 neo=

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colonialism2 at2 the2 level2 of2 the2 imaginary.2 Examining2 this2 process2 is2 central2 to2 understanding2
Cuba’s2relationship2with2the2outside2world2over2the2past2two2decades.22
2 Films2that2focus2on2underground2culture2make2the2same2promise2to2show2the2real2Cuba2
behind2 the2 tourist2 facade2 as2 Gutiérrez’s2 novels,2 yet—with2 one2 notable2 exception,2 discussed2
below—without2 the2 self=reflexivity2 and2 the2 (self=)critique2 of2 voyeurism2 that2 goes2 with2 them.2
The2 desire2 to2 “uncover”2 Havana2 drives2 the2 sale2 of2 Gutiérrez’s2 novels2 around2 the2 world,2
suggesting2 that2 films2 that2 do2 the2 same,2 even2 if2 made2 by2 fans2 of2 underground2 culture,2 are2 in2
some2ways2subsumed2by2the2commercial2and2touristic2imperatives2that2are2so2often2disdained,2
both2 explicitly2 and2 implicitly,2 by2 their2 makers2 and2 subjects.2 Havana2 may2 be2 a2 “projection2
screen2 for2 Western2 fantasies”2 (Dopico2 452),2 in2 this2 case2 fantasies2 born2 out2 of2 a2 disgust2 with2
developed=world2 commercialism,2 but2 the2 repressed2 “Western”2 realities2 are2 still2 part2 of2 the2
picture,2not2least2because2the2audience2for2many2of2these2films2is2primarily2made2up2of2foreign2
armchair2 tourist=consumers.2 The2 desire2 for2 authenticity2 that2 underpins2 the2 capturing2 of2
underground2 music2 blends2 seamlessly2 into2 the2 desire2 for2 authenticity2 of2 contemporary2
touristic2 consumption,2 both2 of2 which2 give2 pride2 of2 place2 to2 the2 camera2 lens.2 In2 a2 context2 in2
which2many,2perhaps2most,2foreign2visitors2want2to2“uncover2the2real2Havana,”2the2filming2of2
underground2 culture2 may2 thus2 be2 considered2 a2 facet2 of2 the2 tourist2 gaze2 rather2 than2 an2
alternative2to2it.22
2 As2 a2 result,2 both2 the2 nature2 and—perhaps2 more2 importantly—the2 impact2 of2 these2
filmed2 representations2 emerge2 as2 significant2 topics.2 It2 is2 not2 just2 that2 the2 lens2 may2 create2 a2
distorted2 representation2 of2 reality,2 but2 that2 the2 act2 of2 representing2 itself2 may2 distort2 that2
reality.2 Just2 as2 tourists2 seeking2 “unspoiled”2 locations2 alter2 these2 places2 by2 the2 mere2 act2 of2
going2 there2 (and2 photographing2 them),2 the2 presence2 of2 film2 makers2 has2 changed2 the2
underground2 scene2 that2 drew2 them2 to2 Havana2 and2 has2 contributed2 to2 the2 steady2
commodification2of2that2scene.2The2makers2of2these2two2dozen2documentaries2have2been2very2
much2part2of2Havana2hip2hop,2and2their2effects2have2been2felt2in2concrete2ways,2both2positive2
and2negative.22

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2 Most2 foreign2 film2 makers2 (and2 researchers2 such2 as2 me)2 have2 economic2 resources2
beyond2 the2 dreams2 of2 the2 average2 Cuban,2 and2 some2 have2 been2 conduits2 for2 money2 and2
material2 goods2 that2 have2 expanded2 the2 capacity2 for2 local2 hip2 hop2 production2 (while2 also2
introducing2 a2 certain2 competition2 for2 resources).2 In2 Hasta& Siempre,2 a2 group2 of2 rappers,2
including2Los2Paisanos2and2Aldo2Rodríguez,2points2out2that2none2of2them2are2wearing2Cuban2
clothes:2they2all2depend2on2donations2from2foreigners.2The2scene2wears2its2transnationalism2on2
its2sleeve.2Film2makers2accord2prestige2to2certain2artists2and2exclude2others2(usually2the2more2
commercially2oriented).2Jauretsi2Saizarbitoria2organized2musical2events2to2provide2footage2for2
her2film,2East&of&Havana,2which2again2implies2selectivity.2In2one2case,2in2August22004,2she2was2
forced2to2respond2to2the2last=minute2cancellation2of2the2Asociación2Hermanos2Saíz2(AHS)2hip2
hop2 festival2 that2 she2 had2 gone2 to2 film,2 and2 the2 resulting2 concert2 at2 the2 Acapulco2 theater2 by2
necessity2 excluded2 as2 many2 artists2 as2 it2 included,2 leading2 to2 rumblings2 of2 discontent2 among2
rappers2 who2 were2 not2 part2 of2 her2 “cast.”2 Foreign2 film2 makers2 are2 thus2 comparatively2
influential,2 not2 to2 mention2 wealthy,2 and2 they2 have2 made2 a2 significant2 impression2 on2 the2
compact2Havana2scene.2If2their2presence2has2had2an2impact2during2the2process2of2filming,2the2
subsequent2circulation2of2some2twenty=five2documentaries2in2North2America2and2Europe2has2
boosted2 foreign2 interest2 in2 the2 scene,2 ensuring2 the2 circulation2 of2 underground2 hip2 hop2 as2 a2
commodity2in2the2international2market2and2conditioning2the2expectations2of2visitors2to2Havana,2
who2 seek2 out2 artists2 they2 have2 seen2 in2 films.2 The2 films2 return2 to2 the2 Havana2 hip2 hop2 scene2
converted2into2tourist2dollars2and2desires.2
2 Even2 though2 hip2 hoppers2 have2 benefited2 in2 tangible2 and2 intangible2 ways2 from2 this2
commodification,2a2number2expressed2to2me2a2broadly2negative2view2of2foreign2documentary2
production.2Some2felt2concerned2about2being2misrepresented;2and2as2Aldo’s2comment2at2the2
head2of2this2chapter2reveals,2such2misrepresentation2does2not2depend2on2willful2manipulation,2
but2can2result2even2from2sympathetic2intentions:2“when2you2make2your2documentary2...2we’re2
going2 to2 look2 like2 gusanos2 [worms,2 i.e.2 dissidents].2 People2 who2 don’t2 agree2 with2 the2
government,2or2anything.2No,2no,2no,2it’s2unavoidable.”2Aldo2recognizes2that2the2camera2is2no2
mirror,2that2it2intervenes2as2it2mediates,2even2in2the2hands2of2a2sympathetic2Cuban2director2like2

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that2 of2 Pa’lante.2 In2 an2 intensely2 politicized2 and2 visualized2 context,2 filming2 is2 inevitably2 a2
charged2 act,2 even2 more2 so2 when2 the2 camera2 is2 wielded2 by2 a2 foreigner.2 For2 example,2 senior2
groups2like2Obsesión2and2Doble2Filo2spoke2of2romanticization2of,2and2an2excessive2emphasis2on,2
material2 scarcity2 in2 many2 films,2 even2 if2 the2 intention2 has2 often2 been2 to2 underline2 local2
resourcefulness2and2talent.22
2 More2worryingly,2a2common2theme2was2that2participants2in2some2documentaries2had2
heard2little2or2nothing2from2the2makers2after2filming2had2finished;2a2number2told2me2that2they2
had2 never2 been2 sent2 a2 copy2 of,2 or2 even2 seen,2 the2 final2 product.2 Few2 of2 the2 two=dozen2
documentaries2 circulated2 in2 the2 Havana2 scene.2 Documentary2 makers2 have2 long2 debated2 the2
pros2 and2 cons2 of2 showing2 footage2 to2 subjects2 during2 the2 editing2 process2 (Pryluck2 2005;2
Aufderheide2et2al.22009);2while2at2least2one2hip2hop2documentary2maker2showed2rough2cuts2to2
key2 protagonists2 in2 Havana2 and2 responded2 to2 criticism,2 such2 a2 strategy2 is2 not2 universally2
expected2within2the2world2of2documentary2making.2But2a2repeated2failure2to2share2the2finished2
product2and2to2ensure2its2circulation2points2up2a2rather2more2fundamental2ethical2problem2in2
this2particular2documentary2boom.22
2 This2 lack2 of2 feedback2 has2 intersected2 with2 a2 broader2 (if2 largely2 unfounded)2 fear2 that2
film2 makers2 have2 returned2 to2 their2 countries2 of2 origin2 and2 become2 rich2 on2 the2 back2 of2 their2
films,2having2paid2little2or2nothing2to2the2local2participants.2Again,2the2issue2of2remuneration2is2
a2contested2one2within2documentary2making2(Aufderheide2et2al.22009),2so2it2would2be2hard2to2
argue2 definitively2 that2 film2 makers2 erred2 in2 Havana.2 But2 rightly2 or2 wrongly,2 a2 number2 of2
protagonists2of2Cuban2hip2hop2documentaries2expressed2concerns2about2being2ripped2off,2and2
they2were2acutely2aware2of2their2inability2to2do2anything2about2it.2They2felt2keenly2their2sense2
of2being2physically2cut2off2from2the2film2makers,2powerless2to2pursue2them2even2by2phone2or2
email,2 given2 Cuba’s2 limited2 connections2 with2 the2 outside2 world,2 much2 less2 in2 person.2 In2 the2
realm2of2hip2hop2documentaries,2the2separation2between2Cubans2and2foreigners,2subjects2and2
film2makers,2has2often2been2stark;2for2all2the2friendships2that2have2been2forged,2film2making2
has2also2emphasized2geographical2and2economic2divisions.2Of2course,2opinions2varied2among2

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hip2hoppers2to2whom2I2spoke,2and2some2film2makers2generated2positive2responses,2but2issues2
of2dispossession2and2misrepresentation2recurred2in2these2conversations.22
2 The2making2of2music2documentaries2thus2risks2mirroring2and2perpetuating2the2effects2
of2 tourism.2 It2 has2 brought2 new2 goods,2 money,2 and2 dreams2 into2 the2 local2 economy,2 but2 also2
new2 inequalities,2 dissatisfactions,2 and2 temptations.2 The2 power2 to2 represent2 is2 not2 spread2
evenly,2 and2 foreigners2 hold2 most2 of2 the2 cards;2 and,2 as2 Calvin2 Pryluck2 notes,2 the2 greater2 the2
imbalance2of2power,2the2more2important2the2question2of2ethics2(201).2Of2course,2in2contrast2to2
the2 photographs2 analyzed2 by2 Dopico,2 the2 subjects2 of2 documentaries2 speak,2 but2 the2 ultimate2
power2 to2 create2 meaning2 still2 lies2 behind2 the2 lens.2 The2 subjects2 often2 know2 little2 about2 the2
wider2project,2since2they2are2generally2far2removed2from2the2editing2process2and2sometimes2
never2see2the2end2result.32They2can2be2framed2in2ways2with2which2they2disagree2strongly,2even2
without2their2knowledge,2because2of2travel2and2internet2restrictions2in2Cuba.22
2 For2all2that2the2camera2lens2has2opened2up2a2channel2between2Cuba2and2North2America,2
then,2 transnational2 exchange2 has2 brought2 challenges2 as2 well2 as2 opportunities.2 The2
communication2 that2 ensues2 is2 not2 always2 as2 free2 flowing2 as2 the2 rather2 idealistic2 “diasporic2
dialogue”2that2is2often2imagined2by2critics2and2film2makers.2The2idea2among2hip2hoppers2that2
film2 makers2 had2 profited2 handsomely2 in2 financial2 terms2 underlines2 the2 distortion2 and2
misunderstandings2 that2 marked2 this2 transnational2 “conversation.”2 This2 point2 is2 illustrated2 by2
Thomas2 Nybo’s2 interview2 with2 Papá2 Humbertico2 in2 Guerrilla& Radio,2 in2 which2 non=
communication2 is2 the2 dominant2 (if2 inadvertent)2 theme:2 Nybo’s2 attempt2 to2 persuade2 the2
rapper2 to2 incriminate2 himself2 on2 camera2 leads2 to2 understandable2 truculence2 on2 Papá2
Humbertico’s2part.2Yet2even2clamming2up2is2not2enough2to2protect2the2rapper2from2the2editor’s2
distorting2hand,2which2paints2him2in2counter=revolutionary2tones.2This2scene2exemplifies2a2film2
that2stands2as2an2example2of2the2risks2that2hip2hoppers2run2by2collaborating2with2foreign2film2
makers.2 When2 the2 director2 is2 determined2 to2 enlist2 rappers2 to2 a2 political2 position2 with2 which2
they2disagree,2the2distorting2power2of2the2lens2is2overwhelming.2If2Guerrilla&Radio2had2actually2
been2 shown2 to2 its2 leading2 protagonists2 in2 Havana,2 it2 is2 unlikely2 that2 hip2 hoppers2 would2 have2
agreed2to2participate2in2such2film2projects2again.2

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Censorship,!dollars,!and!the!camera!
2 Censorship2is2a2recurrent2theme2in2these2documentaries.2Foreigners2are2fascinated2by2
the2extent2to2which2Cubans,2and2especially2rappers,2may2or2may2not2speak2their2mind2about2
social2and2political2issues.2Some2hip2hoppers2are2uncomfortable2about2discussing2censorship2on2
camera,2though2surprisingly,2others2are2quite2willing2to2do2so2(Obsesión2tackle2this2theme2in2La&
FabriK,2and2Los2Aldeanos2joke2about2it2in2Pa’lante).2What2only2becomes2clear2in2Young&Rebels,2
however,2without2question2the2most2interesting2film2to2have2been2made2on2Cuban2hip2hop,2is2
the2extent2to2which2film2makers2were2not2only2documenting2censorship2but2actually2indirectly2
responsible2for2it.2Anna2Boden2and2Ryan2Fleck’s2film2is2littered2with2scenes2that2draw2attention2
to2 the2 problematic2 role2 of2 the2 film2 maker2 and2 the2 camera2 in2 the2 Havana2 hip2 hop2 scene2 (see2
Baker,2 Buena& Vista& in& the& Club,2 for2 a2 more2 detailed2 discussion).2 Several2 key2 scenes2 revolve2
around2cameras—either2the2camera2that2is2shooting2the2documentary,2or2cameras2wielded2by2
other2foreigners.2Unlike2most2other2films,2which2carefully2edit2out2the2presence2of2“rival”2film2
makers2and2cameras,2Young&Rebels2makes2a2point2of2filming2other2camerapersons2at2work,2and2
alludes2 to2 the2 economic2 inequalities2 and2 negotiations2 that2 underpin2 filming.2 In2 a2 sense,2 the2
camera2is2the2star2of2the2film.2
2 In2 perhaps2 the2 most2 telling2 scene2 of2 the2 film,2 Randy2 Akozta,2 one2 half2 of2 rap2 duo2 Los2
Paisanos,2explains2that2the2rap2festival2is2the2most2important2event2of2the2year,2so2it2has2more2
“eyes”2 on2 it—in2 other2 words,2 TV2 and2 documentary2 crews2 from2 around2 the2 world.2 There2
follows2a2rapid2sequence2of2shots,2cutting2between2images2of2several2different2camera2crews2
that2 were2 also2 present2 at2 performances2 that2 appear2 in2 the2 film,2 and2 zooming2 in2 to2 one2 with2
“CNN”2emblazoned2on2the2side.2The2sheer2density2of2foreign2observation2via2the2lens2is2thus2
brought2to2the2forefront.2Akozta2says2that2as2a2result,2rappers2have2to2be2careful2about2what2
they2say2because2their2views2can2be2misinterpreted2or2manipulated2abroad.22
2 Film2 makers2 have2 often2 tried2 to2 capture2 their2 subjects2 making2 statements2 about2
censorship,2but2only2Boden2and2Fleck2allude2to2the2fact2that2the2presence2of2so2many2cameras2
acted2 as2 a2 brake2 on2 rappers’2 freedom2 of2 speech2 and2 ensured2 unusually2 zealous2 surveillance2

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from2the2Cuban2government.2When2Papá2Humbertico2hoisted2a2banner2reading2denuncia&social2
(social2 denunciation)2 at2 the2 20022 hip2 hop2 festival,2 the2 mere2 knowledge2 that2 his2 gesture2 was2
caught2 by2 foreign2 cameras2 was2 enough2 to2 precipitate2 official2 consternation2 and2 retributive2
action2(Henríquez2Lagarde22002).2Alpidio2Alonso,2president2of2AHS2and2the2official2ultimately2
responsible2 for2 the2 festival,2 stated2 clearly2 that2 the2 problem2 was2 principally2 the2 presence2 of2
foreign2 media,2 whom2 he2 accused2 of2 parroting2 stereotypes,2 searching2 out2 controversy,2 and2
twisting2 messages.2 The2 foreign2 lens2 was2 not2 invisible;2 both2 state2 officials2 and2 rappers2 knew2
they2were2being2watched2and2their2behavior2was2affected2accordingly.2It2is2no2coincidence2that2
the2most2intensively2filmed2hip2hop2event2of2the2year,2the2Havana2hip2hop2festival,2was2also2the2
most2strictly2controlled2by2the2state.2Far2from2dodging2the2issue,2Boden2and2Fleck2encourage2
their2viewers2to2make2this2connection2between2filming2and2censorship.2
& Young& Rebels2 reflects2 on2 many2 of2 the2 issues2 that2 I2 have2 outlined2 above,2 and2 it2 is2 this2
thread2 of2 self=reflexivity2 that2 makes2 it2 stand2 out2 from2 the2 corpus2 of2 Cuban2 hip2 hop2
documentaries.2Early2on,2Randy2Akozta2turns2to2the2camera2and2says,2with2a2grin2on2his2face:2
“If2 you2 folks2 didn’t2 come2 to2 Cuba,2 nobody2 would2 buy2 our2 CDs,2 and2 we2 wouldn’t2 have2 U.S.2
dollars.”2The2role2of2film2makers2(and2other2foreign2observers)2in2the2local2hip2hop2economy2is2
thus2 laid2 bare,2 along2 with2 the2 broader2 relationship2 between2 the2 foreign2 lens2 and2 economic2
transactions.2Dopico2notes2that2Havana’s2photographic2boom2has2stirred2“political2interest2and2
market2 appetites”2 (452),2 and2 the2 same2 mix2 of2 politics2 and2 economics2 underpins2 the2 hip2 hop2
documentary2 boom,2 even2 if2 the2 latter2 element2 is2 usually2 eclipsed2 by2 the2 former.2 In2 Young&
Rebels,2 however,2 foreign2 documentary2 making2 is2 shown2 to2 be2 not2 extrinsic2 to2 the2 hip2 hop2
scene2but2part2of2its2very2construction.22
2 The2 inequality2 of2 this2 economic2 relationship2 is2 exposed2 in2 one2 of2 the2 documentary’s2
story2lines:2the2group2Familias2Cuba2Represent2is2trying2to2shoot2a2music2video2but2struggling2
with2a2lack2of2resources,2specifically2a2camera.2The2video’s2director2says:2“We2need2a2camera.2
We2 need2 a2 good2 camera.2 Something2 professional.2 [in& English,& looking& at& the& lens]2 Like2 this2
[laughs].”2The2power2of2foreigners2training2a2lens2on2Cuban2hip2hop2is2problematized2by2their2
subjects’2powerlessness2to2make2a2video2without2foreign2help.2The2presence2of2the2frustrated2

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music2 video2 maker2 points2 up2 the2 camera2 as2 a2 symbol2 and2 perpetuator2 of2 developed=world2
privilege,2 and2 it2 is2 also2 a2 comment2 on2 the2 foreign?ness2 of2 the2 filmic2 gaze2 on2 Cuban2 hip2 hop2
(since2few2Cubans2have2the2necessary2equipment).2
2 With2 the2 camera2 playing2 the2 role2 of2 a2 leading2 character,2 the2 problematics2 of2 film2
making2are2elevated2to2a2central2theme2of2Young&Rebels.2Diasporic2dialogue2there2may2be,2but2
Boden2and2Fleck2reveal2that2underneath2it2lie2currents2of2commercialization,2censorship,2and2
the2 reproduction2 of2 inequalities2 of2 power.2 The2 lens2 is2 a2 medium2 of2 negotiation2 between2
foreigners2 and2 Cubans,2 and2 Randy2 Akozta’s2 comments2 in2 the2 film2 illustrate2 that2 Havana2 hip2
hoppers2can2be2astute2in2this2regard.2But2as2this2documentary2points2out,2it2is2the2film2maker2
who2 holds2 most2 of2 the2 cards2 and2 who2 also,2 in2 one2 sense,2 stands2 as2 a2 proxy2 for2 state2
surveillance.2 Jay2 Ruby2 argues2 that2 “an2 intelligently2 used2 reflexivity2 is2 an2 essential2 part2 of2 all2
ethically2 produced2 documentaries”2 (215).2 Young& Rebels,2 by2 its2 self=reflexivity,2 airs2 questions2
about2the2ethical2problems2of2filming2in2an2impoverished2and2politically2sensitive2environment,2
and2by2doing2so2manages2to2critique2the2filming2boom2as2it2participates2in2it.2
2
Representing!Havana!hip!hop!
2 In2his2meeting2with2Familias2Cuba2Represent2in2Young&Rebels,2the2music2video2director2
urges2 the2 group2 to2 break2 away2 from2 the2 traditional2 clichéd2 images2 of2 Havana2 like2 the2 solar2
(courtyard)2and2Havana2streets2and2rooftops.2This2brief2moment2foregrounds2the2way2in2which2
Havana2 is2 constructed2 by2 the2 camera2 lens2 and,2 by2 extension,2 it2 reminds2 the2 viewer2 of2 the2
constructed=ness2of2documentary2film,2a2point2not2always2remembered2in2discussions2of2these2
works.2It2may2be2salutary2to2bear2in2mind2“the2political2fantasies,2the2artificial2memories,2and2
the2 imaginative2 recolonization”2 (452)2 that2 Dopico2 finds2 in2 Special2 Period2 photography,2 for2 it2
points2 to2 the2 transformative2 power2 of2 the2 lens,2 especially2 when2 in2 foreign2 hands,2 and2 its2
capacity2 to2 reify2 desires2 as2 well2 as2 deeds.2 It2 is2 particularly2 illuminating2 with2 regard2 to2 a2
documentary=making2 boom2 that2 formed2 part2 of2 a2 larger2 foreign2 infatuation2 with2 Cuban2 hip2
hop,2one2underpinned2by2political2beliefs2from2across2the2spectrum2(resulting2in2rappers2being2
portrayed2 as2 everything2 from2 the2 Che2 Guevaras2 of2 hip2 hop2 to2 subversive2 counter=

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revolutionaries)2and2by2the2language2and2ideology2of2the2U.S.2civil2rights2movement2(which2had2
its2 heyday2 before2 many2 of2 the2 film2 makers2 were2 born,2 hence2 the2 “artificial2 memories”).2
Dopico’s2image2of2Havana2as2a2“projection2screen2for2Western2fantasies”2(452)2is2remarkably2
apposite2to2the2film2making2process.2In2documentary2making,2as2in2tourism,2fantasy2and2desire2
are2 the2 other2 side2 of2 the2 coin2 of2 the2 search2 for2 authenticity—a2 simultaneous2 quest2 for2 the2
unreal2and2the2ultra=real.422
2 While2 some2 films2 make2 strenuous2 efforts2 toward2 objectivity2 (such2 as2 Cuban& Hip& Hop&
Desde&el&Principio),2others2are2more2polemical2(Guerrilla&Radio,2A&Short&Radiography&of&Hip&Hop&
in& Cuba)2 or2 symbolic2 (HavanYork),2 and2 their2 significance2 cannot2 be2 grasped2 without2
understanding2their2political,2cultural,2or2economic2agendas.2For2example,2the2tambor2(drum)2
makes2frequent2appearances2in2apparently2informal2scenes2in2documentaries,2yet2in2reality2it2
was2 rarely2 found2 in2 hip2 hop2 circles2 outside2 very2 particular2 presentational2 contexts,2 often2 for2
foreign2 consumption.2 To2 put2 it2 bluntly,2 during2 the2 years2 that2 I2 researched2 Havana2 hip2 hop2
(2003=2010),2most2Havana2rappers2did2not2want2to2rap2over2live2drums,2and2most2hip2hop2fans2
did2 not2 want2 to2 hear2 live2 instruments2 in2 performance.2 The2 groups2 who2 included2 live2
instruments2 tended2 to2 be2 aiming2 at2 either2 non=hip2 hop2 or2 foreign2 audiences,2 and2 their2
performances2to2local2hip2hop2crowds2sometimes2fell2flat.2Most2dedicated2hip2hop2fans2were2
drawn2 to2 electronic2 music2 and2 the2 DJ=rapper(s)2 or2 sound2 system2 format.2 There2 were2
exceptions2to2this2picture,2including2some2of2the2most2commercially2successful2hip2hop2artists2
(the2 connection2 between2 the2 “authentic”2 drum2 and2 commercialism2 is2 worth2 noting),2 but2 I2
never2 encountered2 a2 tambor2 in2 the2 dozens2 of2 ordinary2 hip2 hop2 peñas2 (club2 nights)2 that2 I2
attended.2 The2 appearance2 of2 drums2 in2 documentaries2 is2 thus2 usually2 more2 symbolic2 than2
mimetic2and2should2not2be2taken2at2face2value.2In2HavanYork,&it2serves2as2the2central2metaphor2
for2diasporic2connection2(the2“dialogue2between2two2worlds”2of2the2film’s2subtitle).2The2idea2
behind2 this2 film2 is2 as2 much2 to2 create2 a2 bridge2 between2 New2 York2 and2 Havana2 as2 to2 describe2
one.2The2drum2is2an2imagined,2idealized2object,2not2a2commonplace2presence,2and2the2film’s2
soundtrack2is2an2original2studio2creation,2not2the2sound2of2the2Havana2streets.22

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2 In2several2films,2such2as2La&FabriK,2the2appearance2of2the2drum2exemplifies2the2broader2
phenomenon2 of2 the2 exoticist2 emphasis2 on2 African=derived2 cultural2 symbols2 that2 is2 central2 to2
the2commodification2of2Cuban2culture2today2(Hernández22002).2In2Cuban&Hip&Hop&All&Stars,2it2
serves2to2authenticate2the2soundworld2of2the2album2of2the2same2name,2even2though2this2one=
off2studio2production2was2actually2atypical2of2Cuban2hip2hop2at2the2time2(Baker,2Buena&Vista&in&
the& Club).2 As2 in2 HavanYork,2 then,2 the2 drum’s2 appearance2 reflects2 idealized2 musical2 exchange2
and2 its2 presence2 is2 determined2 by2 the2 film’s2 soundtrack2 and2 sister2 CD2 (produced2 for2 foreign2
consumption)2 rather2 than2 the2 everyday2 musical2 realities2 of2 the2 Havana2 hip2 hop2 scene.2 Most2
viewers2will2recognize2visual2images2such2as2classic2American2cars2and2the2Capitol2building2to2
be2 clichés,2 but2 the2 filmic2 construction2 of2 the2 musical2 side2 of2 Havana2 hip2 hop,2 in2 which2 film2
makers2tend2to2downplay2the2influence2of2U.S.2hip2hop2in2favor2of2more2“colorful”2traditional2
Cuban2music,2is2less2easy2to2read2without2first=hand2knowledge2of2the2scene.2Even2academic2
researchers2have2sometimes2overplayed2the2theme2of2local2musical2adaptation2as2they2mistake2
the2 symbolic2 for2 the2 real,2 meaning2 that2 scholarly2 accounts2 of2 musical2 style2 in2 Cuban2 hip2 hop2
provide2 a2 more2 accurate2 reflection2 of2 the2 documentaries’2 visual2 and2 aural2 discourse2 than2 of2
the2scene2itself.2
2 Things2are2not2always2as2they2seem,2then,2in2Cuban2hip2hop2documentaries,2or2indeed2
in2Cuban2hip2hop2per2se.2The2status2of2visuality2is2in2fact2questioned2in2local2hip2hop,2if2in2subtle2
ways.2 In2 Inventos,2 Kokino2 acknowledges2 the2 quantity2 of2 rap2 groups2 in2 Havana,2 but2 speaks2
dismissively2of2the2majority,2referring2to2los&falsos&que&andan&por&ahí2(the2fakes2that2you2find2all2
around).2 The2 question2 of2 reality2 and2 falsehood,2 and2 specifically2 the2 ease2 of2 looking2 like2 a2
rapper2but2the2difficulty2of2being&one,2recurs2in2many2conversations2and2rap2songs,2such2as2Los2
Paisanos’2 “Está2 de2 moda2 ser2 rapero”2 (it’s2 fashionable2 to2 be2 a2 rapper).2 Appearance2 and2 (self=
)representation2are2thus2areas2of2concern2in2a2scene2where,2as2Kokino2suggests,2many2talk2the2
talk2but2few2walk2the2walk.2“Representing”2is2a2central2discourse2in2hip2hop,2but2it2is2also2a2site2
of2 unease2 in2 the2 Havana2 scene,2 where2 the2 need2 to2 distinguish2 “true”2 representations2 from2
“false”2 ones2 arises2 constantly.2 This2 is2 no2 postmodern2 free=for=all.2 In2 Havana,2 this2 distrust2
extends,2 unsurprisingly,2 to2 the2 realm2 of2 film.2 Both2 the2 process2 of2 representation2 and2 the2

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finished2product2are2viewed2with2a2certain2skepticism,2and2as2a2result,2documentaries2are2not,2
generally2speaking,2seen2as2repositories2of2unadorned2truth.2
2
Los!Aldeanos!in!Miami!and!Havana!
2 Events2that2took2place2between2March220092and2February220102involving2Cuba’s2most2
popular2 hip2 hop2 group2 at2 the2 time,2 Los2 Aldeanos,2 illustrated2 the2 risks2 that2 the2 transnational2
circulation2 of2 filmed2 images2 posed2 for2 the2 scene,2 but2 also2 the2 potential2 for2 foreign2 film2 and2
video2production2to2have2a2positive2impact2back2in2Havana.22
2 By2Easter22009,2Los2Aldeanos’2burgeoning2fame2seemed2to2suggest2that2the2leeway2for2
contestatory2musicians2was2greater2than2at2any2stage2over2the2previous2half2century.2Their2rise2
implied2that2the2government2considered2the2risk2of2silencing2them2greater2than2that2of2letting2
them2continue,2with2the2threat2that2they2posed2partially2contained2by2their2exclusion2from2TV2
and2 large2 concert2 venues.2 The2 amount2 of2 intrusive2 censorship2 experienced2 by2 rappers2 had2
been2in2steady2decline2over2the2past2few2years—it2used2to2affect2primarily2the2hip2hop2festival,2
suspended2in22005—and2it2appeared2that2by22009,2no2one2in2the2government2cared2too2much2
what2Los2Aldeanos2rapped2about2as2long2as2it2was2kept2at2a2low2level2of2exposure.522
2 Unfortunately2for2Los2Aldeanos,2this2turned2out2not2to2be2the2case.2A2series2of2events2in2
March2to2May220092led2to2the2most2notorious2case2of2censorship2to2hit2the2hip2hop2scene2since2
Papá2 Humbertico’s2 ban2 in2 2002.62It2 is2 worth2 underlining2 that2 Los2 Aldeanos2 had2 been2 making2
contestatory2hip2hop2since22003,2so2this2was2not2a2simple2question2of2offending2government2
ears.2 Rather,2 it2 was2 the2 complex2 interplay2 of2 foreign2 involvement,2 local2 politics,2 and2 the2
camera2lens2that2upset2the2delicate2balance.2First2of2all,2film2footage2shot2without2permission2
at2Los2Aldeanos’2illicit2peña2at2Barbarám2found2its2way2onto2a2Miami2TV2station,2leading2to2the2
almost2immediate2suspension2of2the2club2night2(and2the2venue’s2manager).2Then2the2duo2were2
interviewed2on2CNN,2and2a2video2of2El2B’s2incendiary2song,2“La2naranja2se2picó”2(The2orange2
has2 gone2 sour),2 launched2 on2 a2 U.S.2 website2 sympathetic2 to2 the2 Cuban2 Revolution2 (Emetrece2
Productions),2was2immediately2pirated2and2broadcast2by2another2Florida2TV2station.2Finally,2an2
interview2 with2 Aldo2 was2 published2 on2 the2 anti=Castro2 website2 www.cubaencuentro.com2

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(García2 Freyre2 2009). 7 2Los2 Aldeanos2 were2 catapulted2 to2 a2 new2 level2 of2 international2
prominence2 and2 visibility,2 and2 their2 images2 were2 seized2 on2 by2 anti=Castro2 elements2 abroad,2
above2 all2 in2 Florida.2 Reaction2 in2 Havana2 was2 strong2 and2 swift,2 and2 Los2 Aldeanos2 went2 from2
darlings2of2the2hip2hop2scene2to2untouchables2in2the2space2of2a2few2weeks.2
2 This2 turn2 of2 events2 illustrates2 a2 recurring2 pattern2 in2 Cuban2 hip2 hop:2 it2 is2 the2
transnational2 circulation2 of2 information2 (above2 all,2 visual2 images)2 that2 causes2 the2 biggest2
impacts2 back2 in2 Havana.2 Los2 Aldeanos’2 experience2 exemplifies2 the2 foreign2 fascination2 with2
Cuban2underground2music,2the2often2inaccurate2constructions2that2result2(either2in2the2images’2
production2 or2 in2 their2 reception),2 and—completing2 the2 loop—the2 potential2 effect2 that2
transnationally2circulating2film2footage2can2have2back2on2the2underground2scene2in2Havana.2It2
is2 worth2 repeating2 that2 Los2 Aldeanos2 had2 been2 performing2 and2 distributing2 their2 music2 in2
Havana2for2six2years2by2this2point;2it2was2the2uncontrolled2circulation2of2their2music2overseas2in2
filmed2form2that2tipped2the2balance2from2grudging2tolerance2to2blanket2ban.2
2 A2 subsequent2 chapter2 in2 this2 story2 presents2 a2 rather2 more2 positive2 aspect.2 On2 242
January2 2010,2 Melisa2 Rivière2 of2 Emetrece2 Productions2 organized2 a2 video/film2 screening2 and2
concert2 at2 the2 AHS2 headquarters2 in2 Havana,2 La2 Madriguera.2 By2 presenting2 her2 audio=visual2
work2in2the2city,2Rivière2brought2together2a2large2and2enthusiastic2hip2hop2audience,2showing2
that2 the2 difficulties2 of2 sharing2 films2 back2 at2 source2 could2 be2 overcome2 and2 that2 there2 was2
considerable2local2interest2in2such2a2move.2Perhaps2most2significantly,2the2event2provided2the2
first2 officially=sanctioned,2 public2 platform2 for2 Los2 Aldeanos2 to2 perform2 in2 nearly2 a2 year.2 In2
contrast2 to2 the2 picture2 presented2 in2 Young& Rebels,2 this2 foreign2 film2 maker2 negotiated2 with2 a2
state2body2(the2AHS)2in2order2to2give2a2welcome2boost2to2a2scene2that2had2struggled2in2recent2
months2due2to2the2absence2of2its2most2popular2voices,2and2to2push2back,2if2only2temporarily,2
the2shadow2of2censorship2that2had2fallen2over2it.2
2
Conclusion!
2 My2 aim2 here2 has2 been2 to2 bring2 into2 the2 academic2 (and2 English=language)2 sphere2 the2
kinds2 of2 ethical2 questions2 surrounding2 documentary2 film2 that2 have2 been2 regularly2 discussed2

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within2 the2 Havana2 hip2 hop2 scene.2 As2 a2 foreign2 researcher,2 I2 am2 well2 aware2 that2 any2 kind2 of2
observation2 or2 investigation2 raises2 ethical2 questions2 and2 that2 there2 are2 not2 always2 easy2
answers.2I2have2no2doubt2that2a2similar2critique2could2be2made2of2academic2involvement2in2and2
representations2of2the2Havana2hip2hop2scene2(and2I2address2this2issue2in2Baker,2Buena&Vista&in&
the& Club).2 But2 I2 believe2 that2 film2 is2 a2 particularly2 significant2 and2 complex2 medium2 in2 Havana,2
and2so—especially2with2so2many2documentaries2in2existence—a2discussion2of2the2politics2and2
ethics2of2filming2Cuban2hip2hop2is2long2overdue.2As2Pryluck2writes,2“discussion2of2ethical2issues2
will2not2by2itself2solve2the2problems;2[but]2it2may2remind2us2of2their2existence2and2perhaps2lead2
to2a2more2fruitful2relationship2between2filmmaker,2subject,2and2audience”2(207).2
2
Works!Cited!
Aufderheide,2Patricia,2Peter2Jaszi,2and2Mridu2Chandra.2“Honest2Truths:2Documentary2
Filmmakers2on2Ethical2Challenges2in2Their2Work.”2Center2for2Social2Media,2School2of2
Communication,2American2University.22009.2Web.2
http://www.centerforsocialmedia.org/files/pdf/Honest_Truths_Documentary_Filmmak
ers_on_Ethical_Challenges_in_Their_Work.pdf2
2
Baker,2Geoffrey.2Buena&Vista&in&the&Club:&Rap,&Reggaetón,&and&Revolution&in&Havana.2Durham:2
Duke2University2Press.22011.2Print.2
===.2“Cuba2Rebelión:2Underground2Music2in2Havana.”2Latin&American&Music&Review232.12(2011):2
1=38.2Print.2
Dopico,2Ana2María.2“Picturing2Havana:2History,2Vision,2and2the2Scramble2for2Cuba.”2Nepantla2
3.32(2002):2451=93.2Print.2
García2Freyre,2Laura.2“El2hip2hop2me2quitó2la2venda2de2los2ojos.”2Cubaencuentro,2122May22009.2
Web.272January22010.2<http://www.cubaencuentro.com/es/entrevistas/articulos/el=
hip=hop=me=quito=la=venda=de=los=ojos=177231>.2
Gutiérrez,2Pedro2Juan.2Dirty&Havana&Trilogy.2Trans.2Natasha2Wimmer.2London:2Faber2and2Faber,2
2001.2Print.2

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Henríquez2Lagarde,2Manuel.2“Rap2cubano:2Con2la2manga2hasta2el2codo.”&La&Jiribilla&682(August2
2002):2n.2pag.2Web.2232November22004.2<http://www.lajiribilla.cu/2002/n68_agosto/2
1629_68.html>.22
Hernández,2Tanya2Katerí.2“The2Buena&Vista&Social&Club:2The2Racial2Politics2of2Nostalgia.”2
Latino/a&Popular&Culture.2Eds.2Michelle2Habell=Pallán2and2Mary2Romero.2New2York:2
New2York2University2Press,22002.261=72.2Print.2
Pryluck,2Calvin.2“Ultimately2We2Are2All2Outsiders:2The2Ethics2of2Documentary2Filming.”2New&
Challenges&for&Documentary.22nd2ed.2Eds.2Alan2Rosenthal2and2John2Corner.2
Manchester:2Manchester2University2Press,22005.2194=208.2Print.22
Ruby,2Jay.2“The2Ethics2of2Image2Making;2or,2‘They’re2Going2to2Put2Me2in2the2Movies.2They’re2
Going2to2Make2a2Big2Star2Out2of2Me...’”2New&Challenges&for&Documentary.22nd2ed.2Eds.2
Alan2Rosenthal2and2John2Corner.2Manchester:2Manchester2University2Press,22005.2209=
19.2Print.2
Sáez,2Félix2Mauricio.2“Habana2Blues,2Inventos:2Cuba,2la2música2y2el2siglo2XXI.”2Movimiento262
(n.d.):242=43.2Print.2
Urry,2John.2The&Tourist&Gaze:&Leisure&and&Travel&in&Contemporary&Societies.2London:2Sage,21990.2
Print.2
West=Durán,2Alan.2“El2cine2y2el2hip2hop2cubano:2espacio2social,2reflexividad2e2identidad.”2
Movimiento262(n.d.):236=39.2Print.2
Whitfield,2Esther.2Cuban&Currency:&The&Dollar&and&“Special&Period”&Fiction.2Minneapolis:2
University2of2Minnesota2Press,22008.2Print.2
2
Filmography!
A&Short&Radiography&of&Hip&Hop&in&Cuba.2Ricardo2Bacallao,22004.2
Buena&Vista&Social&Club.&Wim2Wenders,21999.2
Cuban&Hip&Hop&All&Stars.2Joshua2Bee2Alafia,22004.2
Cuban&Hip&Hop&Desde&el&Principio.2Vanessa2Díaz,22006.2
East&of&Havana.2Emilia2Menocal2&2Jauretsi2Saizarbitoria,22006.2

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182 geoff2baker222222
!
!
!
La&FabriK:&The&Cuban&Hip&Hop&Factory.2Lisandro2Pérez=Rey,22004.2
Guerrilla&Radio:&The&Hip?Hop&Struggle&Under&Castro.2Thomas2Nybo,22007.2
Hasta&Siempre.2Ishmahil2Blagrove2Jr.,22005.2
HavanYork:&Un&diálogo&entre&dos&mundos.2Luciano2Larobina,22009.2
Inventos.2Eli2Jacobs=Fantauzzi,22004.22
Más&voltaje&–&más&volumen,&rap&en&Cuba.2Joe2Wentrup,21997.2
Pa’lante.2Ernesto2Merizalde,22007.2
Young&Rebels.2Anna2Boden2&2Ryan2Fleck,22005.2
2
!
Notes!
1
2These2 films2 are2 available2 at2 http://growingintomusic.co.uk/cuba=rumba/films=of=growing=into=music=
2.html.22
2
2This2article2revisits2and2extends2ideas2presented2in2Baker,2Buena&Vista&in&the&Club.2
3
2I2have2noted2a2similar2problem2with2some2foreign=produced2compilations.2On2more2than2one2occasion,2
I2 have2 arrived2 in2 Havana2 and2 commented2 to2 a2 hip2 hop2 artist2 about2 his2 track2 on2 a2 compilation2 that2 I2
recently2bought2in2the2UK,2only2to2be2met2by2a2quizzical2look.2
4
2As2Urry2notes,2“Places2are2chosen2to2be2gazed2upon2because2there2is2anticipation,2especially2through2
daydreaming2and2fantasy,2of2intense2pleasures,2either2on2a2different2scale2or2involving2different2senses2
from2those2customarily2encountered”2(3).2Pedro2Juan2Gutiérrez2explores2the2sexual2undertones2of2this2
gaze,2this2desire2to2“uncover2Havana,”2through2the2recurrent2figure2of2the2voyeur,2and2the2combination2
of2fantasy2and2the2urge2for2authenticity2suggests2an2uncomfortable2parallel2between2film2making2and2the2
sexualized2world2of2Cuban2tourism.2
5
2See2Baker,2“Cuba2Rebelión,”2for2more2on2Los2Aldeanos2and2censorship.2
6
2It2should2be2noted2that2Los2Aldeanos’2ban2was2never2made2official;2the2duo2was2simply2shunned2by2the2
managers2of2music2venues.2
7
2I2am2grateful2to2Melisa2Rivière2for2illuminating2these2events2in2Havana.2
2

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