World Music,nation and postcolonialism

Recent scholarship on representational politics in popular music tends to dwell on the macropolitical entailments of contradictory desires acted out through the consumerization of culture within the globalized circuitry of supranational capitalism. This article takes a micropolitical look at what salsa means for working-class Puerto Ricans in the colonial diaspora, positing salsa as a musical culture that fuels, and is fuelled by, the organic intelligence of its practitioners. Comparatively analysing the performative content and contexts of two albums produced at the symbolic juncture of the Quincentennial (1992) – Willie Colón's Hecho in Puerto Rico and Ruben Blades' Amor y Control – and sharing an auto-ethnographical account of experiences with salsa music in the Puerto Rican colonial diaspora, this article explores the cultural politics obtained between mainstream appropriations of Latin musical cultures and salsa within the working-class communities who created it. Thus shifting the critical lens from above to below, the most salient concerns become the ethical dimensions of subaltern (kin)aesthetics and knowledges, which can be charted alongside the overt rejection of consumerist assimilation, the conscious racialization of cultural agency and other articulations of liberatory desire.