Reggae in Cuba and the Hispanic Caribbean: Fluctuations and Representations of Identities

Samuel Furé Davis

I vividly recall when, in 1993, I was introduced to a small group of Rastafarians in a suburban and apparently poor and marginalized neighborhood southeast of Havana. That moment was the beginning of my very frequent contacts with that group. Around the block from the house of one of those Rastas, there was a small so-called amphitheater, which would later become an important center of community cultural activities; this group of Rastas would play a prominent role in the organization of such activities. One of these events took place on October 31, 1999; a major reggae and rap concert was organized in that small place, which was jam-packed with a heterogeneous and primarily young audience of approximately 200 people. It was one of a series of cultural events in that community structured around reggae music and the Rastas' social contribution to the cultural life in the vicinity, combined with the frequent participation, lifestyle, and expressive needs of the rappers. However, none of these events was free from a number of organizational restrictions and regulations imposed by the local authorities regarding when, how long, and why the activities were organized, as well as conditioned on the usually excellent public discipline and order.