Asynchronous Blog Post
Instructions:
Pick ONE of the following options and respond in the comment section down below. The deadline is 11/04 before the class.
OPTION ONE
According to Rivera-Rideau, what are the central links between salsa and reggaetón? What does she mean by diasporic connections?
OPTION TWO
Who are the cocolos? Why Rivera Rideau conceptualize reggaetoneros as cocolos?
OPTION THREE
Rivera Rideau argues that salseros and reggaetoneros share similar cultural politics. Thinking of these commonalities, share a video by a salsa or reggaetón artist that exemplifies this political frame. Explain your selection by referring to Rivera-Rideau essay.
OPTION FOUR
Respectfully interact with ONE of your classmates’ responses. Do you agree with their arguments and interpretations? Do you disagree? What other observations about “Cocolos modernos,“ do you want to bring into the discussion?
Option 1: According to Rivera-Rideau, what are the central links between salsa and reggaetón? What does she mean by diasporic connections?
The central link between salsa and reggaetón is that they are both the expression of the Puerto Rican national identities. Another central link is that they are connected by the cultural politics of blackness. Blackness means their African culture and not one that is influenced by white and becoming a whitened Hispanicity. Diasporic means to move away from common origins so like leaving your home country involuntary. So a diasporic connection means to move away from a common connection.
Yes, exactly the salsa and the reggaetón are both forms of expressing Puerto Rican identity, and they are centered around this idea of blackness politically. Blackness is the direct connection t their African heritage that is untouched by the white man.
Option 2:
Cocolos are the fans in Puerto Rico. The term was originally a negative term for Afro Caribbean communities, but later it was redefined as a way to symbolize the way of life with salsa music. Rivera Rideau stated that Frances Aparicio describes the word cocolos as “‘young black men who attend salsa concerts and who drive old Toyotas with the driver’s seat lowered and the loud speakers blaring salsa’ (1998, p. 69)(Rideau, p. 4).” Cocolos also critiqued racism and colonialism through salsa.
Rivera Rideau suggests that reggaetoneros are cocolos because they both critique racism and are associated with salsa. Reggaeton brings attention to racism and blackness in Puerto Rico. Reggaeton and salsa create the cultural politics of blackness. Reggaeton artists show that salsa is a critical aspect for “alternative constructions of blackness(Rideau, p. 12).” Also, Rideau addresses reggaeton artists as “These ‘cocolos modernos’. . .(Rideau, p. 12).” Further suggesting the relation of reggaetoneros as cocolos.
At first referring to someone as a cocoons was to be directed to African Caribbean communities in Puerto Rico. This did not have the best meaning, as far as to even say disrespectful towards the African people. The word eventually took on a new meaning which portrays a way of life associated with Salsa music rather than a specific community. Rivera Rideau conceptualizes reggaetoneros as cocolos because of the way they come together whether it be culturally, politically, or even through music. Cocolos express their criticism of racism through Salsa and the Reggaetoneros are the same. Both Cocolos and Reggaetoneros speak up agains the racial issues facing society.
According to the reading “cultural politics of blackness connect Salsa and Reggaeton.” its later stated that they “individually arose out of transnational movements between urban, working-class communities, and
their African diasporic connections”(2). When stating “African diasperic connections”, Rivera-Rideau is referring to the fact that they have common origins. Diasperic connection means when things in different places are connected because they share something originated from one place. in this case Africans migrated to the americas being separated from their ancestral home land, now living in two or more locations(in this case the Americas). A lot of the things mentioned in these songs are in relation to African culture in the americas therefore having African diasperic connections.
Option 1
The author makes a few connections between salsa and reggaetón. The first major one was that both of these dance styles are ways of expressing black or African culture. Furthermore, the author goes on to say that it shouldn’t be surprising that this is the case because both of these styles came from the transnational movements between working-class communities and their diasporic African connections although both of these movements happened independently of one another. If we were to look at them together the author claims that both reggaetón and salsa are also used to expression of Puerto Rico and their national identity although just thinking of them as expressions of Puerto Rico misses out on the black cultural aspects of these styles. Also, what I think the author means by diasporic connections is the acknowledgement of black culture and influences in these two styles and also a recognition of racial experiences and exclusion especially when it concerns Puerto Rico and Africa.
Option 2
Cocolo is a term to describe musical practice fans in Puerto Rico. They were initially referred to as African-Caribbean communities in Puerto Rico, and this term was often very critical and disrespectful towards the African people. However, as time passed, cocolo became a symbolism of life associated with salsa music. Reggaetón is a form of dance music that originated in Puerto Rico which is similar to hip hop and rap. Rivera Rideau conceptualizes reggaetoneros as cocolos because they both share identity discrimination, encounter racism, and have a similar class level in their community. Their musical performances have similar cultural expressions and talk about racial politics.
Option 1
According to Rivera-Rideau, “salsa and reggaetón are linked together via a cultural politics of blackness and foregrounds broader connections.” Rideau explains that diaspora connections, which refer to the concept of moving away from a search for common origins, are what links salsa and reggaeton. For example, the diasporic connections developed between Caribbean Latinos and African Americans are what sparked the development of salsa music. The independent movements of Puerto Rican communities between the Caribbean and New York developed the music we know today. And both salsa and reggaetón have become expressions of Puerto Rican identities and black appreciation.
Option 2
Cocolos is a term that referred to Afro Carribien communities in Puerto Rico. The term cocolos had negative connotations. The term was later converted to describe a way of life rather than a community. The term was now a way to describe a way of life associated with Salsa music. Later, the term became a specific description of young black men and their overall aesthetic. The aesthetic involved young black men who went to salsa concerts and drove old Toyotas with lowered seats and loud music. Cocolos became an identity. This identity was on the opposite spectrum of rockeros. Rockeros were fans of US rock and were of higher socioeconomic class. Cocolos were on the low side of the class divide. Cocolos used salsa for a space to discuss racism and simultaneously celebrate Puerto Rican culture.
Rivera Rideau conceptualized reggaetoneros as cocolos because they both involve similar lifestyles and identities. Salsa was a way for people to come together and discuss racism, colonialism, and any other challenges their community faced. Salsa music has musical influences from the African diaspora and so does reggaeton. Reggaetoneros were now doing the same thing. Reggaeton became a place for people to come together and discuss cultural politics.
Option Two
Cocolos a a term used to describe fans in Puerto Rico and was initially used to refer to Afro-Caribbean communities in a derogatory way. Over time though, the term symbolizes the life of salsa music. Frances Aparicio describes cocolos as “young black men who attend salsa concerts and who drive old Toyotas with the driver’s seat lowered and the loud speakers blaring salsa” (1998, p. 69, Rivera-Rideau 4). Rivera Rideau conceptualizes reggaetoneros as cocolos because of their stance on racial issues and their musical talent. Reggaetoneros use their music to express these racial issues and injustices they face.
Option 2:
Who are the cocolos? Why Rivera Rideau conceptualize reggaetoneros as cocolos?
Cocolos was originally a negative and derogatory term that stood for Afro Caribbean Communities in Puerto Rico. It’s a disrespectful word for black people. But over time, people redefined the word cocolos. People define Cocolos as a way of representing lifestyle and salsa music.Cocolos is also a symbol of identity, representing the fans in Puerto Rico, but cocolos is in a lower class. The image of Cocolos is like young black men driving old Toyotas, playing Salsa music and turning it up really loud. Rivera Rideau conceptualized reggaetoneros as cocolos because they both addressed the topic of racism through music. Cocolos express their criticism of racism through Salsa and the Reggaetoneros are the same. Both Cocolos and Reggaetoneros discuss the racial issues facing society.
Option 2:
Who are the cocolos? Why did Rivera Rideau conceptualize reggaetoneros as cocolos?
Cocolos was once a derogatory term referring to Afro-Caribbean Puerto Rican communities, but is now used to describe Puerto Rico fans. People in the communities have taken back the derogatory term and changed its meaning for the better. It’s now a way of life relating to salsa and reggaetoneros (dance music). Not only that but it’s an identity form now too. “Ultimately, then, what links salsa and reggaetón together is their positioning as cultural expressions of Puerto Rican identities that center blackness.” Rivera Rideau conceptualizes reggaetoneros as cocolos because of the way they come together, their racial stance, other cultural and political discussions and how they express themselves through music.
At first, cocolos was a derogatory term described as people from African-Caribbean communities on the island. The term then turned into a way to describe the way of life of someone who enjoys salsa. Frances Aparicio describes cocolos as “‘young black men who attend salsa concerts and who drive old Toyotas with the driver’s seat lowered and the louds peakers blaring salsa” Rideau sees regaetoneros as cocolos because they both share similar messaging of relatability to working-class non-white people. Unlike the rockeros who were fans of United States rock music; they tended to be on a higher socioeconomic class and the whiter end of the racial spectrum. However, both Reggaetón and salsa music genres get their influences from within the African diaspora, music including hip hop, Jamaican dancehall, and reggae en español. Also, Cocolos and Reggaetoneros both have influences within the African diaspora. Cocolos would use salsa to critique racism and colonialism while celebrating the African roots of Puerto Rican culture. Reggaetón expressed the same messaging by addressing the concerns of the working class and non-white communities. Salsa and reggaetón are linked due to the large histories of migrations and the exchange of culture that led to the culture politics discussing the blackness that joins the two genres together.
Option 2:
Who are the cocolos? Why did Rivera Rideau conceptualize reggaetoneros as cocolos?
Cocolos is a term used to describe fans of Puerto Rico. At first, the word was a derogatory term for the Afro-Caribbean community. The latter word became a symbol of life related to salsa music. Reggaetoneros originated from Puerto Rican dance music. Rivera Rideau conceptualized Reggaetoneros as cocolos. Later they used Reggaetoneros to express the racial issues and unfair treatment they faced.
option 2;
The term cocolos was a derogatory term used to describe those of the Afro-caribbean community, but later was used to define those who enjoyed celebrating their culture through salsa.
Rideau used the term in a new progressive way, he used it to describe reggaetoneros, he took the term that had a negative connotation attached to it and made it positive. These young men would use their rap music to spread the racial issues faced within the puerto rican society. Along with salsa, it was also an artform where people can send out an important message. “These ‘cocolos modernos’ identify closely with
the class and racial politics of salsa, and continue a long tradition of using popular
culture as a strategy to destabilize hegemonic discourses of racial democracy that
devalue blackness”(Petra R. Rivera-Rideau) That quote helps conceptualize what the reason for using this term for good instead of the negativity surrounding the word.
Option 2:
In Puerto Rico, fans were previously referred to as “cocolos” which was used in a disrespectful manner to call someone a Afro-Carribean. “Cocolos” was a term to call someone out for being an outsider. However, over time, the term began to symbolize a way of life associated with salsa music. It later developed into a counterpart against “rockeros’ who were fans of rock music and predominantly richer and whiter than “cocolos.” Eventually, “cocolos” became people who used salsa as a way to critique racism and colonialism while also celebrating Puerto Rican culture, along with their African roots. Rivera Rideau conceptualizes reggaetoneros as cocolos because reggaeton and salsa both emerged from similar circumstances. Similar to salsa, reggaeton has also incorporated musical influences and it expresses the concerns of working-class and non-white communities.
Option 1 :
According to River-Rideau, there are some central links between salsa and reggaeton. One such link would be the cultural politics of blackness. Cultural politics of blackness is an indication of not only bringing attention to racial exclusion in Puerto Rico’s racial democracy but is also in the African diaspora. Rivera-Rideau also uses the term “diasporic connections”. This essentially means that to withdraw from the original connections that they had and make new ones.
Option1:
Based on the text the central links between salsa and reggarton is their connection to blackness and Puerto Rican identities. What she means by diasporic connections is that although there’s a lot of cultural influences in Puerto Rican culture the African element has a great influential impact on the music. These genres of music are connected by “cultural politics of blackness.”
According to Rivera-Rideau, salsa and reggaeton are mainly linked by their roots in Puerto Rican culture and the politics of blackness. By preserving the culture of Afro-Latinos/as, salsa and reggaeton play a large role in preventing whitewashing and erasure. Rivera calls this a diasporic connection, which refers to the fact that many Afro- Caribbeans have gone through the same or similar struggles, such as colonization and racism.
Option 1
The author makes a number of connections between salsa and reggaetón throughout the article. First of all both are dancing styles and each are used to express black or African culture. According to Rivera-Rideau, “salsa and reggaeton are linked together via a cultural politics of blackness and foregrounds broader connections.” So the author is saying that salsa reggaeton shares cultural background. Both formed through international movements led by working class black people. These dances are also closely related to the Puerto Rican identity. By connection with the diaspora, the author means, understanding the influence of black culture and these two styles, especially with respect to Puerto Rico and Africa, to understand racial experience and alienation.
Option 1
According to Rivera-Rideau, what are the central links between salsa and reggaetón? What does she mean by diasporic connections?
When discussing the connections between salsa and reggaeton, Rivera-Rideau makes several important links that connect these two styles of music, specifically their cultural meaning. Two of the most important links that Rivera makes are that both reggaeton and salsa serve as expressions to represent Puerto Rico’s national identities surrounding black culture and the diasporic nature of black culture and these two types of music. Diasporic by term is a form of diaspora which means the dispersion of people from their homeland and when Rivera uses this term, she refers to the connections between Africa and Puerto Rico and the impact of African influences when it comes to salsa and reggaeton.
Option Two
River Rideau highlights a belief that the rise of reggaeton led to the decline of salsa’s popularity. However, to combat this idea, Rideau conceptualizes reggaetoneros as cocolos by examining their similar roots. Cocolos is a term used in Puerto Rico used to refer to fans of salsa music. It was initially a derogatory term specifically related to Afro-Caribbean communities on the island; however, over time, it transformed to encompass an “entire way of life associated with salsa music” (page 4). According to Rideau, both salsa and reggaeton have direct connections to diasporic influences, with salsa developing from Caribbean Latinos and African Americans’ work and reggaeton incorporation elements of hip hop, Jamaican danceball, and Panamanian reggae en espanol. In addition, reggaeton is regarded as the successor of salsa vieja, making a more direct link between the two musical styles. Aside from influences, their common purpose to examine and rebuke discrimination and inequalities regarding darker-skinned communities in the Americas give more relevance to referring to reggaetoneros as cocolos. Instead of pitting the two styles against each other, Rideau highlights how both thrive on and highlight blackness, and how they are building off each other. A prominent example of their connection is seen with Tego Calderon, a reggaetonero who also described himself as a ‘cocolo modern0’ (page 9).
According to Rivera-Rideau, what are the central links between salsa and reggaetón? What does she mean by diasporic connections?
According to Rivera-Rideau, the central link between salsa and reggaeton is Africa Diaspora. To continue, there is a “blackness” that is connecting the two music genres. The author said,” Salsa and reggaetón are thus connected through a diasporic cultural politics that centers on blackness. Consequently, while both emerged from various processes of diasporic movement and cultural exchange, we must also take into account the ways that salsa’s cultural politics of blackness have informed reggaetón. I discuss the work of musicians Rafael Cortijo, Ismael Rivera, and Tego Calderón to demonstrate the diasporic connections between salsa and reggaetón.”This explains that the African culture is being passed down through music. Music is very essential in culture because it connected people together. The two individuals the author mentions were a big impact on the community, with their rhythms and beats, “blackness” is the central core of it.
Reggaeton is music that has been mixed with Latin and Caribbean backgrounds. Once again we see the mix of cultures blending together to bring an amazing and unique type of music. As we learned last week how Cubans and Africans united to make a unique sound. They use music to express themselves as well as express what is going in their native land. To add on Rivera-Rideau expresses the central links between salsa and reggaeton. They are both connected due to the fact they are both a way of expressing the Puerto Rican background/culture/identity. She also connected it to a term identified as “blackness”, meaning African culture but one that is pure. Not one that has been influenced by white and has been changed. Rideau also talks about diasporic which is used when someone moves away from oneself origin.
Cocolo is a name used in Puerto Rico to describe enthusiasts of musical practice. In Puerto Rico, they were formerly referred to as African-Caribbean communities, a name that was sometimes derogatory and dismissive of African people. Cocolo, on the other hand, became a symbol of vitality connected with salsa music as time went. Reggaetón is a style of dance music from Puerto Rico that is comparable to hip hop and rap. Rivera Rideau refers to reggaetoneros as cocolos because they share identity persecution, racism, and a similar socioeconomic status in their communities. Their musical performances share cultural elements and address racial issues.