Adriana Brawns: "Very rarely do we transformists have the pleasure of being in theaters"

Although I could simplify my assessment with an accusing look and an assertion of the type: "reggaeton is homophobic", I would like to propose a slightly more complex look. Although the masculinities that are built around the interpreters of the genre basically show a model or ideal of "macho" before society, the peculiarities of each country expose a more diverse scene. 

The presentation of the roles of men and women in Cuban reggaeton reflect stereotypes as a result of historical and sociocultural processes that are expressed in the works as in the dynamics of a musical genre in which few women take a microphone and socialize messages. that empower them. Reggaeton men are, then, the hegemonic group and reggaeton women a minority that is minimized in the public arena. To this schematic context we must add the fact that, until now, no Cuban reggaeton player has declared himself openly homosexual, so that beyond the cisgender there is a whole sexual imaginary absent in reggaeton in Cuba.

The hegemony exercised by excluding masculinity shows only one type of "reggaeton" man whose main attribute and merit before society is his sexual power. That is why almost every reggaeton song becomes an ode to that man, while discriminating against or ignoring other types of masculinities and reiterating stereotypes that do not include sexual diversity among their speeches, themes and projections.

Although not usually reflected explicitly, homophobia and transphobia in local reggaeton are seen by contrast in the endless themes dedicated to the sexual power of men and the subjugation of women before them. In addition, the most hackneyed way of being offended between men in the song is to depower the sexuality of the other, excluding him from a gesture of heteronormativity where the only conceivable model is to be the strong male, possessor of money, women and material objects, better if luxurious.

In the disputes over (male) power, terms such as “penco”, “I have my finger on him” or “maricona” are used in this scene to denote a supposed weakness of the other. Here are two examples that confirm it:

El Insurrecto: “I see you as confused and moody, do you want me to give you the stiletto so you can put on your breasts?” (hard cold). 

El Nene Yomil: "I don't have a wife to buy me a car and a house, because here everyone knows that you are wasa wasa" (For a beginner). 

Why is a homosexual or bisexual reggaeton player who defends their rights, their truths and realities not visible in our environment? Why has the Cuban reggaeton scene not even been feminist yet, to take a first step? Those are some of the questions I ask myself. 

In the midst of this scenario described up to here, Adriana Brawns presents herself as a drag queen who sings reggaeton —I dare to say, after several years of studying this scene in Cuba, which is the only one that makes urban music on the island— and immediately breaks the pre-established and enriches the Cuban imaginary with its otherness. 

His repertoire is made up of themes such as The answer or Greater (Becky G), Cob (Karol G. ft. Nicky Minaj), Oh Lord and bug (Karol G), Last night's night (Bad bunny ft. Rosalia), I kicked you out (Anuel AA, Cosculluela, Bad Bunny, Ozuna, Wisin, Nicky Jam, Yandel, Jlo) and The relationship (Sech, J Balvin, Daddy Yankee, Rosalía and Farruko); all of Latin reggaeton. I mention each of the songs that Adriana Brawns performs because I think that the best way to get to know an artist is by appreciating the work that she defends —even if it is not her own. 

The appropriation of the discourse for the subsequent reinterpretation of these themes makes the significance and relevance of this event enhanced. Imagine these songs sung by a drag queen In addition to the diversity that it brings to the show, it is a full-fledged event, while giving new meaning to the female presence in the urban environment with a performance with different sexual codes.

What follows is the testimony of this transformist who defends a sexist genre in its foundations but who reveals, in turn, other alternative and diverse discourses. 

Adriana Browns. Photo: Courtesy of the interviewee.

How did the idea of incorporating reggaeton songs into your repertoire come about? drag queen?

“I considered that transformism should have a change, because what is used to doing are ballads, songs of temperament, maybe dance songs, but not reggaeton. I decided to be different and started with the songs that were on the rise at the time, to do something different. Besides that I like them a lot”.

How do you identify with the songs you sing? 

“Depending on the moment that I am living, I can identify myself or not with the songs that I interpret. When they are partying, for example, I try to feel as happy as possible to achieve what the song means. Since I usually work in clubs and bars, where there is a lot of joy and dancing, it's easy for me. It is more difficult when they have to do with relationships, because I have to get into the role that the singer is playing at that moment.

Do you consider reggaeton to be homophobic or sexist?

“In the topics that I have heard and hear there is no discrimination against the LGBTIQ+ community. Perhaps it can happen that at a given moment a singer has a song that discriminates or insults, but I do not consider the ones I listen to and perform homophobic.

“I do think, however, that the musical genre is sexist and macho, even when women sing, but that is what the public likes now. I am not in favor of macho and sexist behavior, so I decided to do these topics because many of them defend women, like Relationship, for instance. Sech is there protecting the girl, just like when Rosalía sings, she is defending her right”.

For the selection of your repertoire, do you take these aspects into account?

“I am very selective on that side. Generally the songs I choose are performed by women, and in most of them they feel empowered in the fight against gender violence.

How do you prepare the show you want to present? Do you link reggaeton themes with other types of genres? What wardrobe do you wear? Tell me about that process. 

“When I go to select my songs, I look for them to be on the hit lists, so that everyone knows the song and can enjoy it. I prepare some mixes, I combine the hits looking for an order in which the last one is the most moved. The costumes almost always try to be combined, have three in one, like the wigs, resources like that, so that the show is enjoyable.

What places do you perform regularly?

“In bars and nightclubs; Very rarely do we transformists have the pleasure of being in theaters”.

Why do you think there are no openly gay reggaeton singers in Cuba?

“I think it's because of the macho society we have here, [because of] the tradition that most people are macho, even women. If many people who are not famous stay in the closet because of machismo, imagine someone who is recognized. Even reggaeton players from other countries who adopt homosexual behavior are not well seen here, such as Bad Bunny, who appeared in a video dressed as a woman. I heard many people criticizing him for wearing very long false nails.”

How do you dream a Cuban gay reggaeton? What should I say? How should it sound? Would you sing it at a show?

“I would like it to have its own image, without the aesthetics and patterns that reggaeton artists normally wear. That these artists are free to dress as they want, that their songs fully defend the community. I would like it to sound lively because I think that reggaeton, more than anything, is to encourage people, whether it's to dance or to stimulate emotions. Of course I would sing it at my shows.”

How has the reaction of the public been when seeing you sing reggaeton? Do you have an anecdote you want to share? 

“Every time I go on stage with reggaeton songs, people go crazy, because they see something different. I think it's like refreshing the show. They almost always leave me last in all the presentations because it's time to dance. I have a friend who when the song was booming Oh Lord of Karol G put me in a WhatsApp status as 'the Karol G of Cuba', and that's how many have called me since then”.

The very fact that Adriana exists, that she has decided to direct her art to diversify urban discourse is, in my opinion, relevant; for the new colors that it introduces to the island's reggaeton musical arena. A change is coming, which may take time, but perhaps transformism will be decisive for the transformation of the genre in Cuba.