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Op-Ed: Por qué los escasos comentarios de Artistas Urbanas sobre el movimiento #BLM son un problema

The juxtaposition of race in the U.S. in conjunction to that of every individual Latin American country has repeatedly been proven to cause agitation in the Pan-African conversation, including clashes both in the Afro-diasporic dichotomy of Afro-Latinos and African-Americans, as well as within the Latinx community as a whole. Confronting the exploitation of symbols inspired to combat racist issues forced artists to move either towards or away from ‘la causa’ further contributing to its blanqueamiento. Essentially it is unlikely that there isn’t any aspect of urbano that does not reflect a sort of lineage to Blackness, it is in its DNA.

A common mistake made by Latinx is the dissociation of these issues due to nationalistic attitudes that contribute to the erasure of Afrodiasporic injustices. Due to phenotypes such as “pelo crespo” and dark skin, Afro-Latinx who are Negrxs do not have the luxury of staying silent because it is a part of their means of survival as well. They’re not capable of separating their negritud from their Latinidad. It is for this reason that Black Latinos are included in the statistics reflecting the Black Americans who are racially profiled and mass incarcerated. The constant education of the effects of systemic racism, mass incarceration and white privilege, or lack thereof are especially important during these profound moments in history and are critical for the advancement of Black people.

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«Reggaeton es para todos, Perreo es de la calle pa’ la calle» – Bones Weso

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