The documentary “Revolution”, a film that approaches the capital's rap duo “Los Aldeanos” was exhibited recently at the Chaplin Movie Theater, in the framework of the Ninth Exhibition of New Filmmakers, organized by the Cuban Institute of Cinematographic Art and Industry (ICAIC) held in
The film, directed by Mayckell Pedrero, is a journey of 50 minutes to give their own voice to these “hip hop underground” creators, as they described themselves-who lash out, from an irreverent hypercriticism against the country’s social, political and institution structures, without leaving out of the avalanche, the society around them and in which they live.
Los Aldeanos and their alleged popularity gained among a predominantly young audience which responds -consciously or naively- to the entire fabrication process to make icons that “conquest” certain areas, of what, for the enemies of the Revolution, has become fashionable in the recent years: the “civil society” in
Counterrevolutionary propaganda machine reformulates itself according to the circumstances, but its makers discovered that the “civil society” could not be invented with a single stroke of a pen.
In a chilled South West Miami office, they decided to embark on the conquest of the mass of Cubans who live, suffer and face on daily bais the consequences generated by the crisis, the blockade and internal errors.
For this purpose, our enemies have no distinction between mercenaries in their payroll or naïve and irresponsible “dissidents”. Whoever serves, provided that they sing the notes described in the counterrevolutionary score.
The examples to list speak for themselves. We must remember how they invented the figure of a poet-invalid-convict, who ended up climbing up, on his own feet, the stairs of the plane that was taking him to the dreamt of “freedom” of his masters.
Or the so-called “independent journalists” who do not know the basic grammatical rules necessary to draft a note, but they are on all lists of Reporters Without Borders, Human Rights Watch, together with any organization that calls itself defender of “human rights” as a pretext to interfere in the internal affairs of the island
Los Aldeanos, were made to believe that they are symbolic in the way of criticism.
And naively they believed it. This happened despite the fact that their discourse hardly touches the most elemental simplicity, with more visceral than specific arguments, from the language and codes of the marginality which is most exclusive and discriminatory than any real alternative social, and without reflecting the immediate realities around them.
Criticizing for criticizing has never been a good trade, and to radicalize a discourse, as these rappers do, that the laboratories and some foreign media seek to prefabricate as paradigms of the Cuban youth, it takes more than a devastating buss, which only shocks without providing any options.
“Revolutionaries of the Revolution,” these hood musicians call themselves, who do not propose or change anything at all, because a society that insists on shaking a heavy burden, just get changes from the perspective of growth, of analysis and willing to correct itself .
These times can not afford to live outside the realities affecting the Cuban society, and impose changes, many of them immediately, to save this social project that has cost fifty years of struggle against the world’s most powerful enemy.
Fidel called on all Cubans to be critical, and Raul makes that claim imperative for the Revolution to progress and reformulates itself.
We are not oblivious to that phenomenon, and we must all get involved. But from marginality, with imposed codes and language from the hood, it is not possible to challenge ideas.
The mass media that the Revolution and the Cuban State placed in the hands of the people, can not be used to mercilessly attack a project which, though imperfect, far exceeds in humanity and dignity, the “mirrors” in which hypercritical look at themselves, whose only job is to seek for spots on the Sun.
Everyone has the right to express itself, but it is immoral to use the media as attacking public platforms, the spaces that were designed for other purposes. Destroying is just one of the most important goals that rule today the destabilizing actions in the media war against
The only thing I agree with the Los Aldeanos “discourse" is that we must work hard for an inclusive Cuba, with room for everyone to work in building the future of the country, but from within and with the hearts in our hands.
The pamphlet-discursive or musical- is less credible every day. These times are neither for demagogies nor diatribes, because they only benefit those who for fifty years have had the nightmare of witnessing the collapse of the Cuban Revolution.