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the insistence of those in power, but also
because it confirms the interviewee’s
assertions about the fact that with these
efforts, “the symbol of a nation, its social voice, is being recovered.”
CubaRaw and the El Círculo gallery are
now an important part of this movement. We could not neglect the poetry,
voice, styles, and musical productions
emerging from Cuban Hip Hop. It is
very Cuban, particularly since the nineties, when the poorest young people in
Cuban society, among whom were an
enormous number of Afro-descendants,
came on the scene, against all odds,
with a cultural movement whose dimensions offers incalculable possibilities for
channeling aesthetic, social, and political projections and, above all, for expressing concerns, frustrations, needs
and desires. The articles by David D
Omni, “Cuban Hip Hop and Race,” and
“Cuban Hip Hop: The Critical Voice
and Critical of a Shaken Society,” by
Leonardo Calvo, discuss this phenomenon.This forward-thinking cultural
movement has another great exponent:
painting, a form of artistic expression
that has witnessed the emergence of
young creators who through their symbolic production have also contributed
“a space for confrontation that offers its
own creative answers to Cuba’s social
reality through their treatment of new
problems. This has been in open defiance of habitual censorship, according
to José Clemente Gascón, in “From

Scandalous Sincerity to a Metaphor of
Cynicism.”As Argentina has not been
absent from the concert of Latin American countries in whose processes of
formation and development Africans
and their descendants participated actively, the article “Afro-Argentine Music: Notes for a Social History of Silence,” by Norberto Pablo Cirio, successfully demonstrates the falseho