In recent Cuban history, the phrase “patria y vida,” which translates to homeland and life, has emerged as a unifying cry. The phrase has repeatedly gained significance, as the noise above rose on both sides of the Florida Strait. Last week, protests took place in Miami and various parts of the Caribbean nation, causing reverberations for Cuban liberation throughout the world.
The phrase “Vida y Patria” comes from a hip-hop song of the same name, which was released in February as a collaboration between Cuban musicians in exile: Márquez “el Funky” and Osboro Maykel, both contributors of Bueno Descemer, a singer-songwriter, and Romero Yotuel, a founding member of the pioneering Cuban hip-hop band Zona De Gente. Additionally, it features Malcom Randy and Alexander Delgado, members of the duo.
A deeper dive into the protest song
To interpret the lyrics and provide explanations for the allusions, we sought the assistance of Lilly Blanco, a Cuban-American musician based in Miami, who incorporates numerous historical and contemporary references.
62 years ago, the musicians are boldly reclaiming a motto that gained popularity during the inception of the Cuban revolution, “Patria o Muerte” (Homeland or Death). The title itself holds the utmost significance.
When it comes to the lyrics, Blanco explains that the structure of traditional Cuban songs is atypical, as they deviate from the verse-chorus-verse form and instead opt for a steady build of tension until the very end, when the perfect refrain finally arrives for a sing-along.
Therefore, let’s delve into it. Their people for only others and the globe – the movement’s messages with important words and structure, the artists infuse each other at different moments, and the community of artists who have come together in opposition to a limited access to the outside world in their country, Blanco describes them as “the present,” the use of popular songs is a crucial tool to give voice to the Cubans.
First verse
The pain experienced by their generation has been utilized as a means to divert attention from renowned individuals in Cuban history such as Che Guevara and Jose Martí, rather than alleviating it. Musicians have witnessed the government prioritizing ceremonies over the needs of its citizens. The bolded lines above highlight a fresh perspective that differs from the experiences of their parents, through the prominent inclusion of historical and cultural references.
Blanco states, “That has a strong effect on me because I didn’t experience that (here in the U.S.).” “I didn’t attend a school where I had to wake up in the morning and aspire to be like Che Guevara. These children did. Therefore, incorporating that into the song truly represents their perspective during that period… That’s what they were convinced of. They are attempting to sacrifice that in order to survive, to purchase food.”
The Cuban government’s hypocrisy is evident in their focus on promoting the luxurious Varadero as a representation of prosperity, while conveniently ignoring the stark realities and shortcomings of Cuba. This contrast is emphasized by the personal and vivid imagery of loss, effectively reminding the world that Varadero, despite its fame as a popular tourist destination, does not reflect the true Cuba.
In the lyrics, Blanco alludes to the year 2022 as the year when Castro came to power, referring to it as “nine five”. The verse cleverly uses wordplay to reference a game of dominos, symbolizing the stalemate reached by the Cuban people and government, where neither side has the power to make a move on the board.
She declares, “The match has concluded. The pair of two is in our possession, while the five nine belonged to you. This is our moment. Witnessing a truly liberated Cuba is our vision for 2022.”
Second verse
This is the first moment in the song where writers explicitly link their homeland’s slogan to the possibility of a new path, imbuing anyone who sings the song with a sense of purpose and responsibility. We are “we” and “us,” and the dignity of an entire trampled people is our “sensibility.”
Third verse
According to other referenced lyrics, Ramos Anamely Blanco, a young poet who has been harassed and detained by the government, has also been put to work by the government as a professor in the field where Urquiola Ruiz Omara, a breast cancer survivor, has made attempts to increase awareness and support for breast cancer.
Blanco states, “If she had even tried to educate people about breast cancer and help them, they would not have appreciated her voice.” “The world of medicine denied her medical treatment because they did not agree with her stance, which is an anomaly,” says Blanco. “It is a punishment for her that they refused to give her the necessary treatment. This situation does not make sense when you really think about it.”
“If you’re not included in [the government’s] roster of individuals authorized to express their opinions — you’re considered an adversary,” Blanco emphasizes.
Many consider the musicians of this generation to be witnessing a revolution of glories, ruling their lives from birth. In the world, they challenge what many consider to be one of the oldest authoritarian regimes, opening up a bold revolution, as cited in the lyrics of the verse “an evil revolution.”
The song’s virality came with consequences
Cuban officials have been holding Mykal Osboro in custody since April, though this action did not occur without repercussions. Garnering over 6.7 million YouTube views and being sung by thousands of people during protests worldwide, the song was made public in February and has since become extremely popular. Recently, as stated on an Instagram account associated with the singer, a request has been submitted to the United Nations, urging them to investigate allegations of physical abuse against him.
In a country with a worldwide reputation as a musical hothouse, it makes sense this kind of defiant challenge would be musical.
Blanco expressed, “I perceive it as somewhat paradoxical that it is conveyed through melody since Cuba has contributed an abundance of music to the global sphere. We experience this bond, we possess this vocal expression. In fact, I find it quite enchanting to possess a national hymn.”