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This essay offers an ethnographic entrée into Havana’s annual Hip Hop Festival as a site of overlapping and, at times, asymmetrical articulations of revolutionary internationalism at the millennial turn. The performative terrain of Cuban hip hop, Perry argues, offers a dynamic space in which to explore evolving dimensions of race, neoliberalism, and state interests in Cuba and their artistic mediation by young Cubans, while illuminating broader transnational fields—and potential limitations—of identity, music making, and liberatory envisioned political futures.

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