el REPARTO CUBANO: lo bueno y lo malo 🇨🇺🍑
Summary
TLDRLes jeunes à Cuba préfèrent danser le REPARTO plutôt que le reggaeton. Ce nouveau genre musical cubain, né dans des quartiers marginaux, est caractérisé par des paroles explicites et agressives. Le REPARTO, qui s'est popularisé grâce aux échanges culturels avec Miami, reflète la réalité sociale et économique des jeunes Cubains. Bien qu'il soit critiqué pour sa violence et ses paroles dégradantes envers les femmes, il est apprécié pour sa capacité à faire danser et son utilisation innovante de la percussion afro-cubaine et de la musique électronique.
Takeaways
- 🎵 Les jeunes Cubains préfèrent danser le REPARTO plutôt que le reggaeton.
- 📜 Le REPARTO est un nouveau genre musical cubain né dans les quartiers marginaux.
- 🎶 Le genre REPARTO utilise des éléments de la rumba cubaine et de la timba comme base rythmique.
- 🗣️ Les paroles du REPARTO sont souvent explicites et agressives, reflétant la réalité des quartiers.
- 🌐 La numérisation de la musique cubaine a été cruciale pour l'émergence du REPARTO.
- 🕺 Le REPARTO est devenu populaire grâce à l'internet et aux échanges culturels entre La Havane et Miami.
- 📉 Les jeunes Cubains de la génération Z ne s'identifient pas à la musique traditionnelle cubaine.
- 🎧 Le REPARTO a permis d'actualiser le timbre de la musique cubaine avec des instruments électroniques.
- 📺 Les médias officiels cubains ne diffusent pas le REPARTO en raison de ses paroles et de son origine.
- ⚠️ Le REPARTO est critiqué pour sa glorification de la violence, de la pauvreté et de la sexualisation des mineurs.
Q & A
Quelle est la nouvelle tendance musicale chez les jeunes à Cuba?
-Les jeunes à Cuba dansent principalement le REPARTO, un nouveau genre musical cubain.
Comment le REPARTO est-il caractérisé musicalement?
-Le REPARTO intègre des éléments de guaguancó cubain, de timba, et utilise des textes à contenu sexuel explicite et agressif.
Pourquoi les jeunes Cubains ne s'identifient-ils pas aux musiques traditionnelles cubaines?
-Les jeunes de la génération Z à Cuba ne se sentent pas identifiés à la musique traditionnelle cubaine car elle est antérieure à leur naissance et à leur histoire personnelle.
Comment le REPARTO reflète-t-il la réalité sociale à Cuba?
-Le REPARTO exprime la réalité sociale des quartiers marginaux de La Havane, les frustrations économiques et le manque d'espoir de changement à Cuba.
Quel rôle jouent les DJ et les producteurs dans le genre REPARTO?
-Les DJ et les producteurs sont essentiels pour créer les rythmes et les bases musicales du REPARTO, rendant le genre très dépendant des techniques de digitalisation.
Quels sont les problèmes sociaux soulevés par les paroles du REPARTO?
-Les paroles du REPARTO abordent des thèmes tels que la violence, le machisme, la pauvreté et la sexualisation des mineurs.
Quel est l'impact des médias officiels sur la diffusion du REPARTO?
-Les médias officiels cubains ne diffusent pas le REPARTO, préférant des produits artistiquement plus élaborés et des paroles moins explicites.
Comment le REPARTO est-il devenu populaire malgré le manque de soutien des médias officiels?
-Le REPARTO est devenu populaire grâce au 'paquete semanal' et aux nombreux petits commerces privés qui décident de jouer cette musique.
Quel est le rôle des célébrités dans la culture du REPARTO?
-Les célébrités du REPARTO créent des scandales et des extravagances sur les réseaux sociaux pour attirer l'attention, reflétant la culture de quartier et l'esthétique de la prospérité économique visible.
Quelles sont les préoccupations concernant l'impact social du REPARTO?
-Les préoccupations incluent la perpétuation de la violence, la glorification de la pauvreté, le manque de valeurs morales, et la dégradation des femmes.
Outlines
🎶 L'émergence du REPARTO à Cuba
Les jeunes Cubains dansent le REPARTO, un nouveau genre musical cubain, en lieu et place du reggaeton. Le REPARTO trouve ses racines dans les quartiers marginaux de La Havane et combine des éléments de guaguancó et de timba. Il est caractérisé par des paroles explicites et agressives et est souvent interprété par des personnes issues des quartiers populaires plutôt que par des chanteurs formés. Ce genre est une réponse aux réalités sociales des jeunes Cubains de la génération Z, insatisfaits des conditions économiques et cherchant des références musicales internationales sur Internet.
🎤 Les débuts du REPARTO
Le premier producteur de Chocolate, Dj King Doua, affirme que la chanson « Vívela » de Chocolate en 2012 est la première à utiliser le pédalier timba, bien que de manière limitée. En 2012, le groupe Ire Oma a également produit des chansons avec des éléments de REPARTO. Bien que la paternité du genre soit contestée, des morceaux comme ceux de El Micha et Jona ont contribué à sa diffusion. Le genre s'est popularisé malgré le manque de soutien des médias officiels grâce aux petits commerces privés et aux échanges culturels entre La Havane et Miami.
💃 L'importance du rythme dans le REPARTO
Le REPARTO, genre musical extrêmement rythmé, est conçu pour faire danser. Les Cubains, naturellement enclins à la danse, préfèrent des rythmes agressifs qui bougent tout leur corps. Contrairement au reggaeton, le REPARTO évolue rythmiquement au sein de la même piste, offrant une diversité rythmique. Les voix des interprètes sont souvent agressives, se concentrant sur le flow plutôt que sur la mélodie ou l'harmonie. Ce genre ne nécessite pas de chanteurs techniquement formés, valorisant plutôt une voix « de la rue ».
👑 Les célébrités et la culture de la distribution
Les interprètes du REPARTO adoptent l'attitude des célébrités, créant des scandales et des extravagances pour attirer l'attention. Leur vie publique sert de script pour chaque nouvelle sortie musicale. Le genre partage une esthétique de prospérité économique visible avec des chaînes en or, des vêtements de marque et des voitures de luxe. Le REPARTO reflète la réalité des quartiers cubains, incluant le machisme et les mécontentements politiques et économiques. Bien que certains trouvent les paroles et l'attitude problématiques, le genre est très populaire parmi les jeunes Cubains.
Mindmap
Keywords
💡Reparto
💡Guaguancó
💡Timba
💡Digitalisation
💡Culture de quartier
💡Violence explicite
💡Sexualisation
💡Célébrité
💡Éducation musicale
💡Rôle des producteurs
Highlights
Young people in Cuba don't dance as much reggaeton; they dance REPARTO.
REPARTO is a new Cuban musical genre created in Canal del Cerro.
The lyrics of REPARTO are characterized by explicit and aggressive sexual content.
REPARTO is performed by people from the neighborhood, not trained singers.
The term 'REPARTO' originally referred to marginal neighborhoods in Havana.
REPARTO music is known as 'morfa reggaeton' or 'reparterismo morfa.'
REPARTO music digitally updates the sound of traditional Cuban genres like timba and guaguancó.
Cuban young people of Generation Z don't feel connected to traditional Cuban music.
Cuba's educational system has deteriorated significantly in the last 20 years.
REPARTO emerged as a new danceable genre for the Cuban people.
REPARTO music evolved from the need for a new genre after years of timba and reggaeton.
The digitalization of Cuban popular music contributed to the rise of REPARTO.
REPARTO music gained strength from 2017 onwards, reflecting the digitalization of Cuban percussion.
REPARTO is popular among Cuban university students, despite its explicit content.
REPARTO music is not promoted by official media but spreads through private businesses and cultural exchanges with Miami.
The role of DJs and producers is fundamental in creating the rhythm and beats of REPARTO music.
REPARTO music reflects the neighborhood culture, similar to American rap and Latin reggaeton.
REPARTO performers often display visible economic prosperity, using gold chains, branded clothes, and luxury cars.
REPARTO music is a mirror of Cuban society, highlighting street gossip, machismo, and economic discontent.
Concerns about REPARTO include the perpetuation of violence, poverty romanticization, and lack of moral values.
The sexualization of minors in some REPARTO songs is a serious concern.
REPARTO music can incite violence among young people at parties.
There is a need for good role models and references in REPARTO music.
REPARTO music is the new urban genre that reflects the current Cuban reality.
Transcripts
young people in Cuba don't dance as much reggaeton, they dance REPARTO
as This is what the Cuban REPARTO sounds like Today I come to reflect a little about this phenomenon that
is this new Cuban musical genre Yes, myself, the one who studied in music conservatories and worked
on television for children but it is also born and created in Canal del Cerro, forget about
that channel, too, without a problem, we are a prominent municipality. Oh, look at how it is
done. Hey, don't piss on yourself, latic, this is the key to guaguancó in the
Cuban rumba and this is how the bass drum sounds in the timba and we are going to start with the
kit, the cast united that rumba guaguanco key
and that timba bass drum as the fundamental basis of their bit and
thus began their lyrics. They are characterized by explicit and aggressive sexual content
and their performers therefore They are generally people from the neighborhood and not
trained singers prior to the birth of this urban genre in the capital of
Cuba, Havana. The word REPARTO was used on the street to refer to
the marginal neighborhoods. The public who consumes
timba was also called repartero or repa. The distribution as J musical is also known as morfa r morfa regetón
repartero or reparterismo morfa is also called dancing and be careful how those
kids dance, look when you go to a music conservatory it teaches you that before analyzing a
musical work the first thing you You have to analyze the historical context, then the author and finally the
Musical work. Therefore, one must take into account the characteristics of social reality, two
the need that a group of people have to express their most
real reality through music. Immediately this is fundamental in popular music So let's go there speaking in
very general and mass terms, the young people of generation Z in Cuba do not feel identified
with the tradition of Cuban music Simply because it is prior to their birth and their
personal history That's why they don't perhaps connect with a bolero, a Mambo, a cha-chachá. And even the timba
can become adult or from the past. They are also dissatisfied with the economic shortcomings
of Cuba and the little hope for change, which leads them to look for other references outside. of the
country through the internet and there they find urban musical genres dominating the
international scene, total domination of the world. On the other hand, Cuba's educational system is no longer what it
once was, it has been deteriorating greatly in the last 20 years and Regarding the
musical context, Cuba, which is a country that had given so many different genres to the world, had
not given birth to a new genre for many years, and above all danceable, and this happened with the cast. And the thing is
that the Cuban people are a dancing people of nature and he doesn't like to dance, say that
this level didn't last, you have to be born again, it has been more than 50 years of timba, more than 20 of reggaeton,
in the midst of that, those of alternative fusion music and
the newest trobadores coexisted more than a decade ago. and after 2010 the distribution begins, gaining more strength from 2017 and
until today I call it the digitalization of Cuban popular music until a decade ago and
little else existed a Havana of what was called alternative music at the same time that it already existed reggaeton
was very popular and I survived the timba after this world of what I have
called the alternative vanana. It had been a long time since Cuban music had an update in
terms of timbre. I am talking about the sound and this happened with the cast. Not only was a
new popular genre emerging, but it was coming to update the timbra by digitalizing. If you review
today's Cuban music scene looking for updates in the way of approaching pre-existing genres,
you find Alain Pérez and Alexander Yamana at the top of the timba. sima fon
with that fusion of Afro-Cuban music and Funk and also in traditional music you can mention
David Álvarez and sleight of hand or Tony Ávila But these are evolutions of genres and preist
the new genre and digitized is the cast a genre that is the expression of the people and for the
people to see it is called distribution and many of us think of chocolate Mac and the
divine palón in 2017 as an establishment of the genre at a
textual and aesthetic sound level of the stylistic features of reparterismo
Like every story, it belongs to a single individual and there are other musicians or creators who intervene.
The first chocolate music producer, Dj King Doua, says that the first song that
used the timba pedal was vívela de chocolate in 2012, but only in some
bits, but it is that even the first chocolate theme campismo already used
the claps of the guaguancó key And in this theme and another the only one participates So
he is also part of the story of the beginnings of the cast as well as Chulo but
at the same time At the time in 2012, the group Ire oma had songs like PC and p9 where
you could also hear traits of what would be the distribution of Ire oma, Harrison came out
and that's why many agree with Harrison as the flag of objection. I don't get into that. But
there were also the The main ones have also been heard since 2012, let's listen to them
all, party meedo in si tere mi neno n Hey, disclaimer, it is not the intention of this video
or this person to discuss paternity or the reign of the cast, that goes to the
Instagram lives. of the delivery men with the shooting and the shooting that I don't get involved in that end
of the disclaimer let's see kindowa continues saying the first chocolate producer and I quote starting
in 2015 we started using them in the choruses the pedal and later in the complete songs that
It no longer sounded foreign with acidic texts, Elvis Manuel type melodies and hard raps, it turned out to be a genre
that Chocolate baptized morfa Cuban iaci de raga muffin subgenre of reg and which on the street
explicit. At that time, El Micha and Jona are also El Micha and Jona.
Regarding the dissemination of the cast, it is interesting how the official media does not disseminate it
because they advocate for a more artistically elaborate product made by professional musicians and
also the lyrics do not help them to want to put it on TV and radio But then you wonder
how it became so popular Well, in the beginning because of the so-called weekly package and now
because of the number of small private businesses that there are where the owner decides Who is going
to sing as It is logical and very important due to the great cultural exchange
between Havana and Miami of delivery workers, one cannot fail to mention the important role
of the public of Miami and the emigration of the delivery workers to this city as a
fundamental part of the popularization of the genre when the delivery workers travel a lot to Miami to
give concerts, this from the perspective of a Cuban who cannot travel, especially a
young person, puts you on another level and Once the delivery drivers are left, their idols
have fulfilled a dream of many. The admiration of the delivery grows. It is also a good business. It is
the largest cultural exchange between the United States and the United States, or should I say, La Bana
and Miami are right there now. the chocolate El Chulo the Tiger Wow poppy kimiko and Jordi the coquito
negrito and manum Manu the camel Charlie and yiron fixti ordara and rulay the goddess seidy the girl the
only one a titico wampi and he will surely leave me here on the outside rich with a capital r ridiculous is such a digital genre
that is not very melodic and less harmonious than the role of DJs and producers is fundamental,
they build the bits, the tracks, the bases, the background, whatever you want to call it, what makes you
dance, among the best known are Raimel David 22 Michel boutique Dj Unique Fran the one who
can do everything Dj Romy Cupido Jordan Pro lacho el trojan among many others all essential
for the development and coming of cast and no less important is the role of the managers oy Bing
ag who are in charge of the non-artistic part in Cuba still remains the performer of the very viral song La
TR and at the moment in Cuba also the
musical analysis
is the digitalization of Afro-Cuban percussion and the updating
of the sound of this genre in accordance with what is happening
in the market worldwide the so-called pedal no It is more than the
timba bass drum and then you have the claps that reproduce the guaguancó key that comes from the rumba. But
this is only the fundamental basis, then many polyrhythms are elaborated and it is a genre.
that evolves rhythmically within the same Track, therefore at a rhythmic
and timbral level technologically it is interesting and the digitalization of all these instruments
that were previously acoustic or that belonged to other genres I find it quite attractive,
in addition other electronic instruments inherited from the idm electronic music increasing
the timbre richness each element in the cast has a main objective to make you dance and it
achieves it Cuba is a dancing people, it gives me the impression that we dance with more force
than other Latin countries and that in that we are very close to Africa in the sense
that we need very aggressive music that moves our whole body, it has to be like
with a lot of fire, you know because if not, people don't dance. And if you look, the cast
is evolving within the same Track, it's not like reggaeton that has like a bit More
stable because the dancer also asks you for that rhythmic diversity within the same
song. The voices of the performers also tend to be very aggressive with emphasis on
a simple rhythm and the importance is in the Flow of the spoken accent
of any street Cuban I believe that this also responds to a
dance objective in addition to aesthetic and cultural there is little melody in the voice and little harmony in the tracks and
a lot of rhythms in the voice and tracks because to dance we fundamentally need rhythm
I understand that to to sing cast you don't have to be a technical singer with a well-trained voice
, besides, I wouldn't hit him, it's not like you look Cheo, you need a street in your voice, no one wants to hear
Sam Smi singing cast, or Pao la borá, or Vi Val, or Al. Michael Jackson himself resurrected,
nobody wants that, but even so, most of the performers set me back a lot when I
try to enjoy the genre, a lot of shouting, strident out-of-tune voices, the autotun sometimes
seems to me that instead of helping, it gets worse, I don't even find a rhythmic value. in Flow When it comes to
rapping, as I find in other genres that are also urban, that are street and that are from
people who are not music or singing professionals, I speak vocally of a minimal timb quality
and I am going to give you good examples the Jamaicans with the Dance Hall the French urban music and the
aphrodite of the Africans those people sing and have tremendous Flow a moment to think about
this As for the structures of the productions they are not at all fixed But
we can follow this scheme spoken credits sung verse chorus
against chorus rapped verse bridge chorus against chorus sung credits
good distribution culture aesthetically and socially the performers of the distribution respond to the attitude
of the figure of the Celebrity or celebrity that has internationally replaced the figure
of the artist the Celebrity is there all the time creating scandals and extravagances on
social networks to attract attention. The Celebrity's life is in the public domain and serves as a
script for the delivery of each musical release. The Celebrity is also charismatic
and has popular taste. In addition, the cast shares that neighborhood culture. that American rap,
Fon Carioca and Latin reggaeton have, the aesthetics must respond to
visible economic prosperity, hence the use of gold chains, branded clothes, luxury cars and women
as an attribute of the objectification that is talked about so much. the cast reflects the neighborhood its
gossip of man against woman machismo criminal attitudes the innovative
and always witty and funny phrases of Cubans sometimes their political, economic
and social discontent is in short a mirror of reality almost all the neighborhoods in Cuba almost all They are
poor and don't think that university students don't listen to cast. There are people who have
better education but who were born in a humble neighborhood. I participate in the same
dynamics as any worker or criminal or Random person from Cuba and therefore enjoy
this music. Others allow themselves to be captured by the catchy rhythm and decide to ignore the lyrics. It is also
possible that in some cases there is a disdain for what is official, with the cast being an
underground expression of the people and for the people without it being dictated by national television or radio.
and also how easy it is to connect with the public when talking about explicit sex, no one says it,
but everyone wants sex. My concern with the cast. At a general level, I am very concerned about
the society we are building internationally, with few exceptions, the
lyrics and attitudes in the cast as well as in American rap, fon carioca and Latin reggaetón and
more recently in narcocorridos celebrate and therefore perpetuate violence perhaps
unconsciously, poverty is romanticized and dignified, the lack of moral values and
vulgarity paradoxically on the one hand They sell a pride in the neighborhood at the same time that they play
with the illusion of leaving it to achieve economic prosperity, an illusion that is added to the
Pride of living in the neighborhood that keeps you in your mental and material poverty Let that in Let
Let let that Let I like the tracks, the bits, what happens behind the voice, I have fun
with some choruses and I like dancing, but I don't feel represented by the cast because
I am a woman and I respect myself. I feel that there are things that have to remain the same. internally as
a woman I do not feel happy singing such violent lyrics that speak horrible things about
us where many times we are disrespected and where there is only one very masculine and
aggressive way of approaching sexuality, it is not the issue you deal with, it is how you deal with it and the message you give
and any genre or song that denigrates women, I personally decide not to consume it. Case closed
but the most serious thing of all and pay attention to what I am going to say and
neither communists nor dissidents are paying attention to it is that it appears in some songs the sexualization of
minors in Cuba we are talking about girls between 12 and 17 years old that worries me
a lot I am also worried about those young people who instead of going out to have fun and have a good time
fight and even attack each other with knives at a party This is not exclusive to distribution,
it happens with certain timba bands and I am not saying that the music is to blame for the
violence of a country, I am saying that it feeds back to it Because if you have music
that is explicitly inciting you to violence and who is telling you to measure it
carefully who has the biggest size and you are going to wait for what comes out of it. It is so important that
young people have role models, good role models that they find in their idols, who
are artists, good references for them. your personal lives And for your goings-on in society this is as
dangerous as the genre of narcocorridos that glorifies drug traffickers and that
keeps you in poverty and in addictions that lead you to the worst of outcomes,
surely one of you will say you are Saying all that because you are an old woman,
it is not about age, my love, when timba became too vulgar and crossed the
limit, I was a girl, when reggaeton became too vulgar and crossed the limit, I was 18
years old and I had the same opinion that I am saying today in this video because my parents gave me
a good education and because I learned and studied music but unlike when I was younger
and like many people today I have gotten used to it I have accepted it I have tolerated and
I have even danced to it. So I always ask myself the same question when and where are we going to set the
limit. A good example that another type of distribution can be made
would be Dale Pututi and his epicenter album. Leave a link in the comments for distributions that do not have that
theme that denigrates women or that incites violence Leave the examples below in the
comments but all of the above is my personal opinion I am ready to say goodbye I am not going
to read those comments that you know, I mean don't even waste your time no I am going to read it, I mean
that I am not going to read the hate links that leave me with good music, yes I am going to
watch them with great affection because I like to dance, unlike me, there are millions of Cubans who do
feel represented with the cast, they dance it They enjoy it, they defend it and you only have to take
as a reference the number of reproductions and views that its performers have on
digital platforms. It is the genre that is predominating in the preference of Cubans.
Peru As he did one day with the timba, he adopted it, consumes it and promotes it. The cast is a mirror
of today's Cuban society that shows you the street gossip of popular language, the
fun and ingenuity of the Cuban, the aggressiveness of human interactions and in the sexual relations
the machismo of society endured by men and women and sometimes the
economic and social political discontent the cast is the new urban musical genre that Cuba gave birth to after
2010 the one that young people dance to the one that digitalized Cuban percussion including elements of the
electronic music, the one who compiles in explicit verses very wild Cuban-style sex,
the one who made famous the person who used to be your neighbor in the neighborhood, he dances well, but he thinks that just as
you are what you eat, you are what you listen to because in the end it is about that you are everything you consume
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