Few would have imagined that reggaetón, which emerged over 30 years ago in Panama and Puerto Rico thanks to the influence of reggae and hip-hop, could inspire another musical subgenre. But now, a new rhythm called 'Reparto' has been making waves in Cuba for some time. This genre takes the most characteristic elements of urban music and blends them with the island's traditional sounds like salsa and rumba.
Born in 2007, 'Reparto' has gained relevance in recent years, especially during 2020—a time marked by the Covid-19 pandemic—and thanks to the expansion of mobile internet in Cuba since 2018. The genre flourished in the poorer neighborhoods of the country and has sought to establish its own identity, moving away from the label long known as 'Cubatón.'
This sound began to gain traction in repartos, popular areas composed of neighborhoods and housing projects, making its mark at community parties and impacting adolescents and recent high school graduates.
Now, with the support of local music producers, 'Reparto' aims to blend genres and continue expanding its reach into other parts of Latin America, with countries like Peru already embracing it.
What is 'Reparto' and Who Are Its Main Proponents?
Much like Daddy Yankee, Nicky Jam, Wisin y Yandel, and Plan B did for reggaetón in the mid-90s, several personalities have emerged in Cuba since 'Reparto' was born, gaining prominence and establishing their music in society.
The late Elvis Manuel, Chocolate MC, and JP El Chamaco (the latter known in Peru) are part of the 'Reparto' scene, and many of their songs are played at popular events across Latin America known as matinés.
One of the most striking cases is that of Elvis Manuel, an artist who left behind a significant body of musical work despite his short career. Manuel tragically drowned in 2008 while attempting to fulfill his dream of reaching the United States by raft.
Another notable name is Orlenis 22K, an urban music artist who was recently interviewed by El Nuevo Día. During the interview, he spoke about his 12-year music career and addressed those who criticize 'Reparto,' attributing their disapproval to what he sees as envy.
"It seems like it's envy (regarding the genre's growth in Cuba). And I'm speaking from my heart. They don't want 'Reparto' to gain momentum, you know? It's like they're ashamed to admit that the music we use here is 'Reparto,'" Orlenis 22K said during the interview.
'Reparto' songs often rely heavily on audio processors like Auto-Tune, as well as synthesizers, bass drums, and brass instruments, all tailored to the theme of the track being recorded. These songs are typically produced in small studios in a country that lacks record labels or spaces similar to those in other nations for music creation. It has been the artists and fans of 'Reparto' who have promoted the genre, often "hand to hand" through CDs, USB drives, and more recently, social media platforms like Twitter (now known as X). This is a technological reach that is not available to all Cubans due to the country's social control policies that have been in place for over 50 years.
The Controversy Surrounding 'Reparto'
As a music genre derived from reggaetón, it's no surprise that 'Reparto' has faced criticism for lyrics often deemed sexist, misogynistic, and containing raw depictions of life in Cuban neighborhoods.
One of the reasons 'Reparto' is not widely played on Cuban radio is due to its explicit lyrics, which many singers argue are integral to the genre, making it difficult to adapt for all audiences.
Orlenis 22K addressed this during an interview with the news agency EFE, explaining that changing the lyrics of their songs would mean losing the identity of 'Reparto.'
"They say we have to tone down our language... but if we do that, it stops being 'Reparto', it stops being from the streets," said the artist.
He even made a historical comparison, mentioning that mid-1950s hits, like when the cha-cha-chá was born or Cuban son (from the 1930s), were not initially accepted by the public until they became popular through bands like Sonora Matancera.
"With all genres here, it's always been like this. When son and cha-cha-chá first came out, they were marginalized, and no one wanted to accept them. But now, barriers are starting to break down," he added about 'Reparto.'
Loved by many and hated by others, if 'Reparto' continues to make waves in Cuba, it won't be long before it starts to internationalize similarly to reggaetón back in 2003. However, many factors will need to come together for that to happen.
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