The Transnational Routes of Cuban Popular Culture

Despite vocal, and at times violent resistance against Cuba-based artists performing in Miami over the years, the presence of these performers has become increasingly regular and popular since President Obama relaxed... [ view full abstract ]

Despite vocal, and at times violent resistance against Cuba-based artists performing in Miami over the years, the presence of these performers has become increasingly regular and popular since President Obama relaxed restrictions on cultural exchange (intercambios culturales) with the island in 2009. Comedians like Robertico regularly sell out auditoriums in South Florida while popular personalities like Nelson Gudín (El Bacán) and Angel García (Antolín el pichón) make frequent appearances on television networks geared towards Cuban audiences in Miami. But this intercambio cultural is not uni-directional. Diasporic Cuban popular culture makes its way to the island via el paquete—a term that refers to a terabyte of pirated movies, television, internet sites, games, etc updated weekly and for sale throughout the island. Miami television shows featuring comedians who became famous on the island such as Alexis Valdés, Carlos Otero, and Carlucho (José Carlos Pérez) are prominently featured on el paquete weekly. This paper will examine the transnational life of Cuban popular culture and humor in order to understand how these cultural forms are both indicative and constitutive of intensifying relations between the island and the diaspora. How is popular culture reflecting and affecting life in Miami and Havana? Why are island-based comedians on the island so popular in Miami? What do they address in their performances? What role do Miami-based artists play in the cultural imagination of those on the island? Answering these questions and outlining how these cultural exchanges work will provide a framework for understanding issues related to politics, economics, nostalgia, and the complexity of transnational ties.