The link between reggaeton music
and black culture is basically fallacious, and the same can be said of hip hop;
both certainly derived from black musical expressions, but as primarily
commercial, non-cultural products. The origin of both would be established in
the American Pop of the decades of the seventies and eighties of the twentieth
century, and the Reggae of Jamaica; both eminently black products, which in
this identity expressed that culture in all its projections. However, once
there the phenomenon develops as eminently socio and not ethnologic; although
with the political vice that makes the black population coincide with economic
marginalization in a ghetto culture. From there the ethnological link would be
established, which does not however attend to the porosity of the lumpen as social
class; since the margin of the social structure is not exclusive but only
mostly black, giving rise to the ethnological fallacy that reduces it as a
cultural expression.
Of course, that majority of the
black race in the social margins, identifies it by extension; but only as a
political class, and in no way ethnographically, since it is in fact
established in intrinsically syncretic forms. The fallacy is aggravated by
other developments, such as the mercantilist manipulation by the consumer
industry; that recreates the imaginary of the marginal lumpen, unified in a
segment of mass consumption, to which to sell this product; which, far from
being ethnologically defined —and this is truly representative— actually
synthesizes under the same label of black the totality of the marginal culture.
Once here, the paradox is that the elites of black cultural militancy assume
this racially reductive and simplistic identity; demonstrating that the goal is
not the claim they advocate but the maintenance of the status of belligerence,
as a support of their own lifestyle.
The problem is that this would be
precisely what resists all efforts to conciliate, delegitimizing the cause; even
if the phenomenon occurs as a spontaneous perversion, given the other
determinations of the rise of postmodern capitalism; that is to say, even if
this demagogic derivation does not respond to some form of cynicism, but
inevitable in the set of political contradictions. This refers to the other
phenomenon, by which postmodern capitalism is a corruption of the industrialist
(individualist); in a neo-feudal corporatism, with which postmodern society
contracts in an evolutionary crisis, with the cult of personal success. Because
of this, marginal class mimic the cultural behavior of established elites, such
as their own sense of personal success; in a kind of vicious loop through which
the economy expands, but artificially, feeding on itself, in a dynamics of
unbridled consumption.
Because of this, manipulation of
the (corporate) music industry would fuel the consumption of hip hop and
reggaeton; first as an image of generational identity, to which the
ethnographic aspects of origin are progressively remarked. These references to
origin could function as the same image of their gestation like a great
metaphor; given in the ridiculous and even pathetic relationship because
reductive, of the original song Rappers
Delight with the Aserejé of a
European pop light group called Las Ketchup. Thus, it is the entire economically
and political margin that is encompassed in the so-called urban culture; which
in reality is a reduction of that social class to its most primitive and
violent practices, without even the intellectual element of sublimation in the
collective imagination.
Here again, the paradox of these
militant elites, who, far from conditioning their participation in the whole of
culture, try to kidnap it; maintaining it in this primaries, in the name of a
supposed anti-Western liberalism, like —and it’s an example— the hypocritical
barbarism of Arab cultures. In fact, if these elites were interested in
claiming their cultures, they would appeal to the most valuable contributions
that these culture can do; that’s very different from the folkloristic
sensualism that insists on bestializing them, and could correct the natural
excesses of the culture itself. In this sense, it must be recognized that the
so-called western culture is rather a state of the development of all culture;
which is technologically superior, resulting in a more efficient political
organization. Therefore, it is a universal phenomenon, as it is characteristic
of any culture, which simply has different stages; but for what is so immoral
to manipulate more primitive developments for the benefit of the more developed
ones, as well as the other way around.
Thus, instead of rumba, blacks
could take advantage of the current momentum of the sciences, and correct
Western immanenism with a sort of neo-transcendentalism; for which they would
have to synthesize their own traditions, already codified in their treatises
and religious magical practices, in conjunction with the latest findings of
quantum physics. That signifies a real task, systematizing the traditions in a philosophic
structure that has nothing to bring to the ego but to the world; and all that
matters today is the ego and not the world, which explain why we have so strong
personalities and not a solution for problems. Anyway, that would lead to an
effective claim, rather than to the perpetuation of the status quo; in which a
white elite always leads their efforts, hoarding a financial system based on
the subsidy, from which they let crumbs —in the form of ego stimuli— to their
black protégés.
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