Latin hip hop is hip hop music that is recorded by artists in the United States of Hispanic and Latino descent, along with Spanish-speaking countries in the Caribbean, North America, Central America, South America, and Spain.
The music of Puerto Rico has evolved as a heterogeneous and dynamic product of diverse cultural resources. The most conspicuous musical sources of Puerto Rico have included European, Indigenous, and African influences, although many aspects of Puerto Rican music reflect origins elsewhere in the Caribbean. Puerto Rican music culture today comprises a wide and rich variety of genres, ranging from essentially indigenous genres like bomba to recent hybrids like Latin trap and reggaeton. Broadly conceived, the realm of "Puerto Rican music" should naturally comprise the music culture of the millions of people of Puerto Rican descent who have lived in the United States, and especially in New York City. Their music, from salsa to the boleros of Rafael Hernández, cannot be separated from the music culture of Puerto Rico itself.
Afro–Latin Americans or Black Latin Americans, are Latin Americans of full or mainly African ancestry.
Hip hop music arrived in Cuba via radio and TV broadcasts from Miami. During the 1980s hip hop culture in Cuba was mainly centered on breakdancing. But by the 1990s, with the collapse of the Soviet Union and the onset of the Special Period, young raperos, exposed to foreign tourists whose wealth highlighted their struggle, turned to rapping to affirm their cubanidad and advocate for further revolutionary reforms.
Afro-Cubans or Black Cubans are Cubans of West African ancestry. The term Afro-Cuban can also refer to historical or cultural elements in Cuba thought to emanate from this community and the combining of native African and other cultural elements found in Cuban society such as race, religion, music, language, the arts and class culture.
Afro-Caribbean music is a broad term for music styles originating in the Caribbean from the African diaspora. These types of music usually have West African/Central African influence because of the presence and history of African people and their descendants living in the Caribbean, as a result of the trans-Atlantic slave trade. These distinctive musical art forms came about from the cultural mingling of African, Indigenous, and European inhabitants. Characteristically, Afro-Caribbean music incorporates components, instruments and influences from a variety of African cultures, as well as Indigenous and European cultures.
Various types of witchcraft and occult religious practices exist in Latin American and Afro-Caribbean cultures, known in Spanish as brujería. Influenced by indigenous religion, Catholicism, and European witchcraft, the purpose may range from white magic to black magic.
The culture of Puerto Rico is the result of a number of international and indigenous influences, both past and present. Modern cultural manifestations showcase the island's rich history and help to create an identity which is uniquely Puerto Rican - Taíno, Spanish, African, and North American.
Black Hispanic and Latino Americans, also called Afro-Hispanics, Afro-Latinos or Black Hispanics, or Black Latinos are classified by the United States Census Bureau, Office of Management and Budget, and other U.S. government agencies as Black people living in the United States with ancestry in Spain or Latin America and/or who speak Spanish, and/or Portuguese as their first language.
Afrocubanismo was an artistic and social movement in black-themed Cuban culture with origins in the 1920s, as in works by the cultural anthropologist Fernando Ortiz. The Afrocubanismo movement focused on establishing the legitimacy of black identity in Cuban society, culture, and art. The movement developed in the interwar period when white intellectuals in Cuba acknowledged openly the significance of African culture in Cuba. Afro-Cuban artistic expressions helped integrate the marginalized black community into mainstream Cuban society and art. Since its inception, Afro-Cuban Humanities has emerged as a major area of collegiate studies, and Afrocubanismo's influences can be seen in Cuban literature, painting, music, theater, and sculpture.
Hispanic and Latino are ethnonyms used to refer collectively to the inhabitants of the United States who are of Spanish or Latin American ancestry. While the terms are sometimes used interchangeably, for example, by the United States Census Bureau, Hispanic includes people with ancestry from Spain and Latin American Spanish-speaking countries, while Latino includes people from Latin American countries that were formerly colonized by Spain and Portugal.
There is no single system of races or ethnicities that covers all modern Latin America, and usage of labels may vary substantially.
A neo/new diaspora is the displacement, migration, and dispersion of individuals away from their homelands by forces such as globalization, neoliberalism, and imperialism. Such forces create economic, social, political, and cultural difficulties for individuals in their homeland that forces them to displace and migrate.
Juan Flores was a Professor of Social and Cultural Analysis and director of Latino Studies at New York University. He was considered a leading pioneer, scholar, and expert in Latin American and Nuyorican culture, often working with his wife Miriam Jiménez Román.
Selenidad: Selena, Latinos, and the Performance of Memory is an academic literature written by scholar Deborah Paredez and published through Duke University Press in 2009. Paradez names the reactions made by Latinos in the United States following the shooting death of Selena on March 31, 1995, as "Selenidad". The book explores the effects on Latinos following Selena's death. It also explores her impact and contributions to music and fashion.
Latinidad is a Spanish-language term that refers to the various attributes shared by Latin American people and their descendants without reducing those similarities to any single essential trait. It was first adopted within US Latino studies by the sociologist Felix Padilla in his 1985 study of Mexicans and Puerto Ricans in Chicago, and has since been used by a wide range of scholars as a way to speak of Latino communities and cultural practices outside a strictly Latin American context. As a social construct, latinidad references "a particular geopolitical experience but it also contains within it the complexities and contradictions of immigration, (post)(neo)colonialism, race, color, legal status, class, nation, language and the politics of location." As a theoretical concept latinidad is a useful way to discuss amalgamations of Latin American cultures and communities outside of any singular national frame. Latinidad also names the result of forging a shared cultural identity out of disparate elements in order to wield political and social power through pan-Latino solidarity. Rather than be defined as any singular phenomenon, understandings of Latinidad are contingent on place-specific social relations.
Urbano music or Latin urban is a transnational umbrella category including many different genres and styles. As an umbrella term it includes reggaeton, dancehall, dembow, urban champeta, funk carioca, Latin hip hop and Cumbia villera. The commercial breakthrough of this music took place in 2017. Artists in the style collaborate transnationally, and may originate from the United States including Puerto Rico in particular, Colombia, Cuba, the Dominican Republic, Panama, Venezuela or other Spanish-speaking nations, as well as Portuguese-speaking Brazil.
Blaxicans are people who are both Black and Mexican American. Some may prefer to identify as Afro-Chicano or Black Chicana/o and embrace Chicano identity, culture, and political consciousness. Most Blaxicans have origins in working class community interactions between African Americans and Mexican Americans. Los Angeles has been cited as the hub for Blaxican culture. In 2010, it was recorded that 42,000 people in Los Angeles County identified as both Black and Latino, most of whom are believed to be both Black and Mexican American.
