{"id":7467,"date":"2021-01-22T00:00:41","date_gmt":"2021-01-22T05:00:41","guid":{"rendered":"https:\/\/magazineampm.com\/?p=7467"},"modified":"2021-01-21T17:09:50","modified_gmt":"2021-01-21T22:09:50","slug":"reinas-cubanas-del-perreo","status":"publish","type":"post","link":"https:\/\/magazineampm.com\/en\/reinas-cubanas-del-perreo\/","title":{"rendered":"Cuban queens of perreo?"},"content":{"rendered":"

Historically, the urban scene is a space where men are the majority, since they have had in "the cast" a place from which to reflect <\/span>\u2014<\/span>with its musical, dance and gestural language and expression<\/span>\u2014<\/span> the same power and privileges they have in society with respect to women. From the neighborhood to the stage, that power is evident in money, possession of objects and even women. To break with these stereotypes and pave the way, the reggaeton artist has <\/span>\u2014<\/span>and will have, perhaps for a long time<\/span>\u2014<\/span> the challenge of articulating their feelings and expression in urban music, with the extra burden of fighting for their spaces and opportunities.\u00a0<\/span><\/p>\n

Unfortunately, the game is far from even. The urban feminine discourse in Cuba seems to be the proud bearer of a machismo already rooted in its melodic veins. They say, dress and sing for men, as if sexual domination were a symbol of gender equality and that equalized the game for them.\u00a0\u00a0<\/span><\/p>\n

On the other hand, although some reggaeton players have stylized their language, reducing aggressiveness and violence, and have adapted it to international markets, with different registers, others <\/span>\u2014<\/span>the majority<\/span>\u2014<\/span> they maintain a violent language as a form of expression and an element of gender identity. Nothing indicates on the level of reality that a great change is going to take place in that sense, but I don't think a future urban scene in Cuba that produces reggaeton without misogyny and in which there is also respect for women towards their peers is impossible.<\/span><\/p>\n

The reggaeton women have in their hands two tools that they waste: sensuality and the attention of an entire continent that already has champions in the urban sphere.<\/span><\/p>\n

At the beginning of the 2000s, Ivy Queen was \u201cla Caballota\u201d and claimed her role within an urban movement in which women, in addition to being few, did not really have their own voice and style. Today, in urban Latin America, it can be seen that being a woman is more than sex and a night of lust.<\/span><\/p>\n