“Aquí mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera. (Here they killed people for taking out the flag / that's why I bring it anywhere I want now.)”—LA MuDANZA Global superstar Bad Bunny, born Benito Antonio Martínez Ocasio, like many other Puerto Ricans, has lived a life marked by public crises – blackouts, hurricanes, political corruption and oppression, among others – that have exposed the ongoing impacts of colonialism in Puerto Rico. Offering a portrait of the past and future of Puerto Rican resistance through one of its loudest and proudest voices, P FKN R draws on interviews with musicians, politicians, and journalists as well as ethnographic research to set Bad Bunny and Puerto Rican resistance in an historical, political, and cultural context. Authors Vanessa Díaz and Petra Rivera-Rideau – creators of the “Bad Bunny Syllabus” – demonstrate Bad Bunny’s place in a long tradition of infusing joy and protest into music and honor the many, evolving forms of daily resistance to oppression and colonialism that are part of Puerto Rican life.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing ReggaetÓn, Petra R. Rivera-Rideau shows how reggaetÓn musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego CalderÓn criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetÓn, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetÓn's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. ReggaetÓn, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing ReggaetÓn, Petra R. Rivera-Rideau shows how reggaetÓn musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego CalderÓn criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetÓn, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetÓn's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. ReggaetÓn, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaetón, Petra R. Rivera-Rideau shows how reggaetón musicians critique racial democracy''s privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego Calderón criticize the Puerto Rican mainstream''s tendency to praise black culture but neglecting and marginalizing the island''s black population, while Ivy Queen, the genre''s most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetón, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetón''s origins and its transformation from the music of San Juan''s slums into a global pop phenomenon. Reggaetón, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora. 

Through a collection of theoretically engaging and empirically grounded texts, this book examines African-descended populations in Latin America and Afro-Latin@s in the United States in order to explore questions of black identity and representation, transnationalism, and diaspora in the Americas.

Through a collection of theoretically engaging and empirically grounded texts, this book examines African-descended populations in Latin America and Afro-Latin@s in the United States in order to explore questions of black identity and representation, transnationalism, and diaspora in the Americas.

Through a collection of theoretically engaging and empirically grounded texts, this book examines African-descended populations in Latin America and Afro-Latin@s in the United States in order to explore questions of black identity and representation, transnationalism, and diaspora in the Americas.

As a fitness brand, Zumba Fitness has cultivated a devoted fan base of fifteen million participants spread across 180 countries. In Fitness Fiesta! Petra R. Rivera-Rideau analyzes how Zumba uses Latin music and dance to create and sell a vision of Latinness that’s tropical, hypersexual, and party-loving. Rivera-Rideau focuses on the five tropes that the Zumba brand uses to create this Latinness: authenticity, fiesta, fun, dreams, and love. Closely examining videos, ads, memes, and press coverage as well as interviews she conducted with instructors, Rivera-Rideau traces how Zumba Fitness constructs its ideas of Latinx culture by carefully balancing a longing for apparent authenticity with a homogenization of a marketable “south of the border”-style vacation. She shows how Zumba Fitness claims to celebrate Latinx culture and diversity while it simultaneously traffics in the same racial and ethnic stereotypes that are used to justify racist and xenophobic policies targeting Latinx communities in the United States. In so doing, Rivera-Rideau demonstrates not only the complex relationship between Latinidad and neoliberal, postracial America but also what that relationship means for the limits and possibilities of multicultural citizenship today.

“Aquí mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera. (Here they killed people for taking out the flag / that's why I bring it anywhere I want now.)”—LA MuDANZA Global superstar Bad Bunny, born Benito Antonio Martínez Ocasio, like many other Puerto Ricans, has lived a life marked by public crises – blackouts, hurricanes, political corruption and oppression, among others – that have exposed the ongoing impacts of colonialism in Puerto Rico. Offering a portrait of the past and future of Puerto Rican resistance through one of its loudest and proudest voices, P FKN R draws on interviews with musicians, politicians, and journalists as well as ethnographic research to set Bad Bunny and Puerto Rican resistance in an historical, political, and cultural context. Authors Vanessa Díaz and Petra Rivera-Rideau – creators of the “Bad Bunny Syllabus” – demonstrate Bad Bunny’s place in a long tradition of infusing joy and protest into music and honor the many, evolving forms of daily resistance to oppression and colonialism that are part of Puerto Rican life.

As a fitness brand, Zumba Fitness has cultivated a devoted fan base of fifteen million participants spread across 180 countries. In Fitness Fiesta! Petra R. Rivera-Rideau analyzes how Zumba uses Latin music and dance to create and sell a vision of Latinness that’s tropical, hypersexual, and party-loving. Rivera-Rideau focuses on the five tropes that the Zumba brand uses to create this Latinness: authenticity, fiesta, fun, dreams, and love. Closely examining videos, ads, memes, and press coverage as well as interviews she conducted with instructors, Rivera-Rideau traces how Zumba Fitness constructs its ideas of Latinx culture by carefully balancing a longing for apparent authenticity with a homogenization of a marketable “south of the border”-style vacation. She shows how Zumba Fitness claims to celebrate Latinx culture and diversity while it simultaneously traffics in the same racial and ethnic stereotypes that are used to justify racist and xenophobic policies targeting Latinx communities in the United States. In so doing, Rivera-Rideau demonstrates not only the complex relationship between Latinidad and neoliberal, postracial America but also what that relationship means for the limits and possibilities of multicultural citizenship today.

As a fitness brand, Zumba Fitness has cultivated a devoted fan base of fifteen million participants spread across 180 countries. In Fitness Fiesta! Petra R. Rivera-Rideau analyzes how Zumba uses Latin music and dance to create and sell a vision of Latinness that’s tropical, hypersexual, and party-loving. Rivera-Rideau focuses on the five tropes that the Zumba brand uses to create this Latinness: authenticity, fiesta, fun, dreams, and love. Closely examining videos, ads, memes, and press coverage as well as interviews she conducted with instructors, Rivera-Rideau traces how Zumba Fitness constructs its ideas of Latinx culture by carefully balancing a longing for apparent authenticity with a homogenization of a marketable “south of the border”-style vacation. She shows how Zumba Fitness claims to celebrate Latinx culture and diversity while it simultaneously traffics in the same racial and ethnic stereotypes that are used to justify racist and xenophobic policies targeting Latinx communities in the United States. In so doing, Rivera-Rideau demonstrates not only the complex relationship between Latinidad and neoliberal, postracial America but also what that relationship means for the limits and possibilities of multicultural citizenship today.

"e;Aqui mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera."e; (Here they killed people for taking out the flag / that's why I bring it anywhere I want now.)-LA MuDANZAGlobal superstar Bad Bunny, born Benito Antonio Martinez Ocasio, like many other Puerto Ricans, has lived a life marked by public crises-blackouts, hurricanes, political corruption and oppression, among others-that have exposed the ongoing impacts of colonialism in Puerto Rico. Offering a portrait of the past and future of Puerto Rican resistance through one of its loudest and proudest voices, P FKN R draws on interviews with musicians, politicians, and journalists as well as ethnographic research to set Bad Bunny and Puerto Rican resistance in a historical, political, and cultural context. Authors Vanessa Diaz and Petra Rivera-Rideau-creators of the "e;Bad Bunny Syllabus"e;-demonstrate Bad Bunny's place in a long tradition of infusing both joy and protest into music and honor the many evolving forms of daily resistance to oppression and colonialism that are part of Puerto Rican life.

“Aquí mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera. (Here they killed people for taking out the flag / that's why I bring it anywhere I want now.)”—LA MuDANZA Global superstar Bad Bunny, born Benito Antonio Martínez Ocasio, like many other Puerto Ricans, has lived a life marked by public crises – blackouts, hurricanes, political corruption and oppression, among others – that have exposed the ongoing impacts of colonialism in Puerto Rico. Offering a portrait of the past and future of Puerto Rican resistance through one of its loudest and proudest voices, P FKN R draws on interviews with musicians, politicians, and journalists as well as ethnographic research to set Bad Bunny and Puerto Rican resistance in an historical, political, and cultural context. Authors Vanessa Díaz and Petra Rivera-Rideau – creators of the “Bad Bunny Syllabus” – demonstrate Bad Bunny’s place in a long tradition of infusing joy and protest into music and honor the many, evolving forms of daily resistance to oppression and colonialism that are part of Puerto Rican life.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing ReggaetÓn, Petra R. Rivera-Rideau shows how reggaetÓn musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego CalderÓn criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetÓn, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetÓn's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. ReggaetÓn, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing ReggaetÓn, Petra R. Rivera-Rideau shows how reggaetÓn musicians critique racial democracy's privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego CalderÓn criticize the Puerto Rican mainstream's tendency to praise black culture but neglecting and marginalizing the island's black population, while Ivy Queen, the genre's most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetÓn, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetÓn's origins and its transformation from the music of San Juan's slums into a global pop phenomenon. ReggaetÓn, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora.

Puerto Rico is often depicted as a "racial democracy" in which a history of race mixture has produced a racially harmonious society. In Remixing Reggaetón, Petra R. Rivera-Rideau shows how reggaetón musicians critique racial democracy''s privileging of whiteness and concealment of racism by expressing identities that center blackness and African diasporic belonging. Stars such as Tego Calderón criticize the Puerto Rican mainstream''s tendency to praise black culture but neglecting and marginalizing the island''s black population, while Ivy Queen, the genre''s most visible woman, disrupts the associations between whiteness and respectability that support official discourses of racial democracy. From censorship campaigns on the island that sought to devalue reggaetón, to its subsequent mass marketing to U.S. Latino listeners, Rivera-Rideau traces reggaetón''s origins and its transformation from the music of San Juan''s slums into a global pop phenomenon. Reggaetón, she demonstrates, provides a language to speak about the black presence in Puerto Rico and a way to build links between the island and the African diaspora. 

Through a collection of theoretically engaging and empirically grounded texts, this book examines African-descended populations in Latin America and Afro-Latin@s in the United States in order to explore questions of black identity and representation, transnationalism, and diaspora in the Americas.

Through a collection of theoretically engaging and empirically grounded texts, this book examines African-descended populations in Latin America and Afro-Latin@s in the United States in order to explore questions of black identity and representation, transnationalism, and diaspora in the Americas.

Through a collection of theoretically engaging and empirically grounded texts, this book examines African-descended populations in Latin America and Afro-Latin@s in the United States in order to explore questions of black identity and representation, transnationalism, and diaspora in the Americas.

As a fitness brand, Zumba Fitness has cultivated a devoted fan base of fifteen million participants spread across 180 countries. In Fitness Fiesta! Petra R. Rivera-Rideau analyzes how Zumba uses Latin music and dance to create and sell a vision of Latinness that’s tropical, hypersexual, and party-loving. Rivera-Rideau focuses on the five tropes that the Zumba brand uses to create this Latinness: authenticity, fiesta, fun, dreams, and love. Closely examining videos, ads, memes, and press coverage as well as interviews she conducted with instructors, Rivera-Rideau traces how Zumba Fitness constructs its ideas of Latinx culture by carefully balancing a longing for apparent authenticity with a homogenization of a marketable “south of the border”-style vacation. She shows how Zumba Fitness claims to celebrate Latinx culture and diversity while it simultaneously traffics in the same racial and ethnic stereotypes that are used to justify racist and xenophobic policies targeting Latinx communities in the United States. In so doing, Rivera-Rideau demonstrates not only the complex relationship between Latinidad and neoliberal, postracial America but also what that relationship means for the limits and possibilities of multicultural citizenship today.

“Aquí mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera. (Here they killed people for taking out the flag / that's why I bring it anywhere I want now.)”—LA MuDANZA Global superstar Bad Bunny, born Benito Antonio Martínez Ocasio, like many other Puerto Ricans, has lived a life marked by public crises – blackouts, hurricanes, political corruption and oppression, among others – that have exposed the ongoing impacts of colonialism in Puerto Rico. Offering a portrait of the past and future of Puerto Rican resistance through one of its loudest and proudest voices, P FKN R draws on interviews with musicians, politicians, and journalists as well as ethnographic research to set Bad Bunny and Puerto Rican resistance in an historical, political, and cultural context. Authors Vanessa Díaz and Petra Rivera-Rideau – creators of the “Bad Bunny Syllabus” – demonstrate Bad Bunny’s place in a long tradition of infusing joy and protest into music and honor the many, evolving forms of daily resistance to oppression and colonialism that are part of Puerto Rican life.

As a fitness brand, Zumba Fitness has cultivated a devoted fan base of fifteen million participants spread across 180 countries. In Fitness Fiesta! Petra R. Rivera-Rideau analyzes how Zumba uses Latin music and dance to create and sell a vision of Latinness that’s tropical, hypersexual, and party-loving. Rivera-Rideau focuses on the five tropes that the Zumba brand uses to create this Latinness: authenticity, fiesta, fun, dreams, and love. Closely examining videos, ads, memes, and press coverage as well as interviews she conducted with instructors, Rivera-Rideau traces how Zumba Fitness constructs its ideas of Latinx culture by carefully balancing a longing for apparent authenticity with a homogenization of a marketable “south of the border”-style vacation. She shows how Zumba Fitness claims to celebrate Latinx culture and diversity while it simultaneously traffics in the same racial and ethnic stereotypes that are used to justify racist and xenophobic policies targeting Latinx communities in the United States. In so doing, Rivera-Rideau demonstrates not only the complex relationship between Latinidad and neoliberal, postracial America but also what that relationship means for the limits and possibilities of multicultural citizenship today.

As a fitness brand, Zumba Fitness has cultivated a devoted fan base of fifteen million participants spread across 180 countries. In Fitness Fiesta! Petra R. Rivera-Rideau analyzes how Zumba uses Latin music and dance to create and sell a vision of Latinness that’s tropical, hypersexual, and party-loving. Rivera-Rideau focuses on the five tropes that the Zumba brand uses to create this Latinness: authenticity, fiesta, fun, dreams, and love. Closely examining videos, ads, memes, and press coverage as well as interviews she conducted with instructors, Rivera-Rideau traces how Zumba Fitness constructs its ideas of Latinx culture by carefully balancing a longing for apparent authenticity with a homogenization of a marketable “south of the border”-style vacation. She shows how Zumba Fitness claims to celebrate Latinx culture and diversity while it simultaneously traffics in the same racial and ethnic stereotypes that are used to justify racist and xenophobic policies targeting Latinx communities in the United States. In so doing, Rivera-Rideau demonstrates not only the complex relationship between Latinidad and neoliberal, postracial America but also what that relationship means for the limits and possibilities of multicultural citizenship today.

"e;Aqui mataron gente por sacar la bandera / Por eso es que ahora yo la llevo donde quiera."e; (Here they killed people for taking out the flag / that's why I bring it anywhere I want now.)-LA MuDANZAGlobal superstar Bad Bunny, born Benito Antonio Martinez Ocasio, like many other Puerto Ricans, has lived a life marked by public crises-blackouts, hurricanes, political corruption and oppression, among others-that have exposed the ongoing impacts of colonialism in Puerto Rico. Offering a portrait of the past and future of Puerto Rican resistance through one of its loudest and proudest voices, P FKN R draws on interviews with musicians, politicians, and journalists as well as ethnographic research to set Bad Bunny and Puerto Rican resistance in a historical, political, and cultural context. Authors Vanessa Diaz and Petra Rivera-Rideau-creators of the "e;Bad Bunny Syllabus"e;-demonstrate Bad Bunny's place in a long tradition of infusing both joy and protest into music and honor the many evolving forms of daily resistance to oppression and colonialism that are part of Puerto Rican life.