Anger stemming from systemic racism, mass incarceration and police brutality is part of the everyday reality for the Black community in the United States. But George Floyd’s murder at the hands of police in Minneapolis was the final breaking point.
While many (though not nearly enough) artists and celebrities with large followings quickly condemned the travesty and admonished the officers involved, the sound of silence resonated across one of the genres most indebted to Black music and culture: música urbana.
It is no secret that Latinx media at large has been spoon feeding the ideology of ‘La Raza Latina’ and or the mestizaje of a vastly diverse group of people to its consumers despite evidence of the violence it promotes. This dangerous unification has contributed to a variety of sociocultural schemes that ultimately supply the social demise of Latinx whom specifically exist in the most vulnerable of intersections. Those intersections including but not limited to Negritud, Indigeneity, LGBQTIA, and etcetera.
Merengue is: The national music and dance of the Dominican Republic, la ‘Quisqueya Bella’. Not to be confused with Meringue a song and dance of Haiti. Merengue is danced by swinging your hips from side to side, meneando la cintura (plays La Dueña del Swing by Los Hermanos Rosario). There are multiple folkloric stories that exist that create the notion of how and when Merengue was formed but I am not a Merengue historian I am a Reggaeton Historian so I’m going to keep my mouth of that. More so, I’m trying to illustrate the bridge between Merengue and Merenguetón.