Writer Marjua Estevez (_MsEstevez) explains why decentering whiteness is necessary for Spanish-language and Caribbean afrobeats to become 'a diasporic bridge.'
song translates to “small love” in Igbo, CKay’s native tongue. In Bulin’s Spanish-language remix, he turns the love narrative on its head and instead speaks to two strangers’ explicit desires for one another. Like CKay, Bulin benefitted from TikTok culture, and the song became an instant hit among Dominicans and the greater Spanish-speaking Caribbean area.
It bears mentioning that Africa is like Latin America in that the two aren’t countries but whole continents where no two nations are the same. But perhaps what Mota outlines is a theme more than worthy of consideration about what it would look like for contemporary Black musicians and producers from across the diaspora to unite on an artistic frontier, in spite of language, political affiliations, and nationalism.
“The opportunities are endless, and this should mean that these artists are mixing dialects across regions with the sounds and elements of salsa, perreo, champeta, and baile funk,” adds Eccleston. “It has the potential to solidify, in a new and more intentional manner, the direct connection with African culture and can be one of the biggest examples of Afro-diasporic representation and exchange.”
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