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This chapter uses Don Omar and Lucenzo’s hit, “Danza Kuduro,” to explore the possibilities and limits of reggaetón as a cultural practice of diaspora. The conclusion includes a critique of the gender dynamics of the song and its accompanying music video, and discusses some of the problems of the globalization of reggaetón and other African diasporic musical practices. On the other hand, the conclusion also considers the possibilities of reggaetón as a diasporic practice through a close analysis of the ways that “Danza Kuduro” draws upon the Angolan popular music, kuduro. The conclusion ends with a larger discussion about the...

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