Tag Archives: protest music

This new, trending Cuban song calls for artists to speak out against the island’s regime

Screenshot of the ‘Cuba Primero’ music video, with its singers Linier Mesa and Dianelys Alfonso (‘La Diosa’)

This article was written by an anonymous Cuban author under the pseudonym of Luis Rodriguez and translated by Laura Dunne. The article is republished here in accordance with the media partnership between Global Voices and Shouts.

Try as we might to be optimistic in describing Cuba’s current social landscape, it really is bleak. The inhabitants of the island are emotionally and psychologically drained. With unprecedented inflation, the dollarization of the economy, supply and medicine shortages, endless blackouts, increased insecurity and social inequalities, or worse still, the regime’s systematic repression of those who speak out, analysts agree that this is the greatest crisis Cuban society has faced since the collapse of the Soviet Union (USSR).

However, thanks to the activism of artists in Cuba and their diaspora within the U.S. in recent years, beacons of light now instill a greater sense of hope in this bleak landscape. These artists speak out on behalf of the millions of Cubans denied their basic right to free speech by the country’s regime.

Several talented artists have released various mobilizing songs throughout the years. Let’s not forget Nuestro Tiempo (Ya Viene Llegando) (Our Time Will Come) in 1991 by Willy Chirino, a track to which millions of Cubans danced during Cuba’s difficult period in the 1990s. Chirino’s lyrics soon became an anthem for the balseros (rafters), who risked their lives trying to reach Florida’s shores. Nowadays, many Cubans become emotional just hearing it. Next up in 2021 came Patria y Vida (Homeland and Life), a song by artists and members of the San Isidro Movement (MSI), for example Luis Manuel Otero, who remains in prison today. This became a symbol of the anti-government social unrest on July 11, 2021, and sent shockwaves throughout the country. Today in Cuba, shouting out, “Patria y vida” is enough to land you in jail.

Read also: Freemuse x Shouts Artists’ Voice: Cuban Visual Artist Luis Manuel Otero Alcantara

Just when it seemed as though Cuban artists’ voices had been silenced, two singers in exile in the U.S., Linier Mesa, and Dianelys Alfonso, known as “La Diosa” (“The Goddess”), released their song Cuba Primero (Cuba First), in Miami on April 16, 2023. Each scene of its music video, which truly hit home in Cuba, deals with the symbolic connotations of the country’s historic exodus events, like Operation Peter Pan in 1959 and the 1994 Cuban Rafter Crisis, thus highlighting their underlying emotional toll.

Just like Patria y Vida in 2021, which encouraged Cubans to protest, another Cuban song has now taken on the socio-political activism mantle. However, as protests in 2021 had led to over 1,000 political prisoners, Cuba Primero instead calls upon artists in Cuba and their diaspora to speak out on behalf of the many Cubans suffering in silence. This is a time of great polarization among Cuban artists. While some have chosen to be in compliance with the regime, others criticize this island’s current system. It is, therefore, extremely difficult for any Cuban artist to take a neutral stance.

As such, Cuba Primero is not only a protest song. It also urges us as humans, artists, and intellectuals to step outside our comfort zone, thus ending our passivity and speaking out about the daily ordeal that Cuban lives have become on this vast prison-like island. From this perspective, silence is also a form of complicity.

Activism and its mobilizing power could be a spark within this powder keg that Cuban society has become, especially among young people who regularly access audio-visual content on social media and YouTube. This is a major concern for regime ideologues and their spokespersons, like Michel Torres Corona, who hosts the Con Filo television program. For some Cuban activists, like playwright Yunior García, Con Filo is the “most despicable” program, owing to its continued attacks on activists and critics. In one of his most recent shows, Torres Corona slammed the Cuba Primero music video, by questioning its use of certain symbology, such as a shark to represent Fidel Castro.

Read also: Latin Protest Anthem Nominated For A Grammy While Cuba Cracks Down On Dissidents

While Cuba Primero may able to mobilize civil society, today’s circumstances are different from those of the 2021 protests. However, one thing the activists and the Cuban government do have in common is the battle of symbols raging between the regime’s narrative and the diaspora’s cultural output.

These tracks, from the classic Ya Viene Llegando to the more recent Patria y Vida and Cuba Primero, indicate the cultural ties between the island and its compatriots abroad becoming increasingly connected by a shared vision: the total and unconditional liberation of Cuban people from totalitarianism.

During these bleak periods, Cubans, therefore, don’t just suffer in silence; they also sing and dance to lyrics calling upon them to pursue their much sought-after freedom.

If you would like to listen to more Cuban protest songs, check out this Global Voices playlist on Spotify:

In Togo, singer Elias Atayi uses music as a vehicle for human rights

This article was written by Jean Sovon and translated into English by Alyssa Olivier. It was published by Global Voices on February 6th 2023 as part of their article series about African music. The article is republished here in accordance with the media partnership between Global Voices and Shouts.


Elias Atayi playing the guitar. Photo by Jean Sovon, used with permission.

Elias Atayi is a Togolese musician and singer who uses his music to champion the human rights of women and children.

The protection and promotion of human rights are of the utmost importance for many Togolese, manifesting in the local grassroots activism, arts, and culture scenes. Even as authorities are attempting to improve the situation, challenges remain regarding human rights protections in Togo. Citizens, for their part, are doing their best to construct a state where respect for human rights is prioritized.

This is the case of Elias Atayi, or Eli Amate Ataya as he is known to the state. He is an artist committed to the cause of human rights, a columnist, and co-host of the show Nek’tar on TVT, a Togolese TV channel. He is one of the few artists regularly denounces abuse and raises awareness of the rights of women and children through his music. He uses his art to bring about positive change, as seen in this YouTube video:

Global Voices met with Elias Atayi via Whatsapp to understand more about his approach to activism.

Jean Sovon (JS): Where does this love of music come from?

Elias Atayi (EA): Music is innate and I have practiced it since I was young. Growing up, I went to music classes from Togolese musicians such as Gospel Renya and Edi Togovi. I went to music groups and choruses. I started playing instruments including my guitar, which has always been my faithful friend. I joined the University of Lomé orchestra where I saw many names go through who are now established Togolese artists: Foganne with whom I released Mon Rêve (a song which paints the world in white) and Victoire Biaku (winner of The Voice Francophone Africa).

JS: In your songs, we sense a commitment to human rights. Why do you use your music to address human rights issues?

EA: In 2018, I joined the Documentation and Training Center for Human Rights (CDFDH). During various trainings and activities in the field, my commitment became stronger. With this framework, the opportunity was given to me to compose and record a song accompanying Xonam, an app used to defend human rights. It was a beautiful experience and it reinforced my commitment. The concept is simple: the message and means must be adapted to the goal. If young people like rap, let’s bring them ideas about human rights with rap. I am one of those who thinks that the artist has a big role in achieving the Sustainable Development Goals ODD. The artist is heard, loved, and followed by millions of people. Their message and pleas will therefore have a greater impact and initiate more change from their followers. Because music is found in all homes, and when music is well-played, the lyrics stay anchored in the mind without us knowing it. This is the goal of my work: that the lyrics of songs have an impact on habits and behaviors. During Covid, when the pandemic was at its height, we released two singles (Respecte les mesures and La prophétie) to raise awareness among the population about the pandemic and its harmful effects. The message was well received even if these songs were not hits, I think it’s a start, especially since our means were limited.

JS: What is your impression of the human rights situation in Togo today?

EA: There is still a lot of work to be done, especially in rural communities; millions of people who do not know their rights, women abused without a voice, uneducated children – especially girls. It’s true there has been progress, but we are far from meeting the minimum.The human rights situation in Togo in the 80’s is nothing like the 2000’s. But we must do more to find new strategies, new ways of involving the youth, women, and children. We must bring joy and light to millions of youth in remote areas by organizing various initiatives based on human rights themes, as well as practical training to equip our population. We are ready to hit the ground running.

JS: Besides music, what other ways do you contribute to the advancement to human rights in Togo?

EA: In 2019 I created my organization Equal Rights For All (ERFA) to promote human rights and civic participation in art, culture, and sport. A bet not easily placed given the role art takes in politics. Yes, it takes art to promote human rights because people who do not know their rights will not be able to defend them. Often, people do not know whether the oppressor is violating their rights or not. Therefore they sit powerlessly in situations where they should seek justice for violations committed and demand respect for their rights. Currently, we have outlined several strategies that are very innovative and youthful. We have planned dance competitions, football matches, marathons, film nights, and a series bringing together local comedians around our theme. All these actions are aimed towards young people who are our first priority.

JS: Do you plan on making an album that would be dedicated to this cause?

EA: A 12-track album called Life’s Colors about which we find themes like Child in the Street, Civic Engagement, Peace, No to Violent Extremism, Environment Protection, Equality, etc. I am also focused on authenticity, Africa, its culture, its rhythms. It will be a purely human rights album with African sounds.

JS: Any final words for our readers?

EA: We believe in a better world and we believe that art, culture, and sport can bring a radical change and enormous impact. I am calling on my fellow artists : it is time to convey important messages without too much vulgarity. With what we see and hear today in the media, I fear for our young brothers and our children. Regarding the organization, we have planned a campaign which will be launched shortly on networks followed by strong actions, but I would like to already raise awareness through this interview.

Music Retrospects #3: Elaine Brown, the Black Panther Party and sexism within liberatory politics

These series were written by Cedric McCoy and republished here with the author’s and publisher’s consent. The 3-part series were originally published on The Michigan Daily webpage on Feb. 8, 21 and 23.


For Black History Month 2023, I will be publishing a mini-series of short music reviews under the title “Protest Music Retrospects.” The aim of this series is to both revisit some of the most pivotal moments in Black protest music history and to shed light on overlooked Black figures and musics, specifically those of Black women, that have contributed to socially-conscious popular culture. The reviews will be a mix of musical critique as well as historical and historiographical analysis of the works and their responses in media. I first highlighted Sister Souljah’s 360 Degrees of Power, and then Tracy Chapman’s debut album; for the final entry, I will finish the series with Elaine Brown’s 1969 album, Seize the Time

Brown is best known for her activism in Black Liberatory politics. She served as the leader of the Black Panther Party after Huey P. Newton fled to Cuba in the mid-70s, before leaving the party due to sexist leadership; she was the first and only woman to lead the party, and shifted the standard operations and the philosophies of the BPP towards inclusivity and local advocacy. In addition to her activism, Brown was trained as a musician from an early age and wrote poetry and songs in high school. In 1968, David Hilliard, then-BPP chief of staff commissioned Brown to record some of her politicized songs for the BPP after he heard her perform for some other Panthers — Seize The Time was the result.

Seize The Time exists as a recording (in more ways than one) of the motivations, goals and activism of the BPP. The album contains the party’s unofficial theme, “The Meeting,” as well as various other revolutionary tracks that were often played at BPP social events. Additionally, its cover art was created by Emory Douglas, BPP Minister of Culture. While it is not the only output of music from the BPP (the party also had a funk band composed of active members called “The Lumpen”), it is the only audio album produced by the party that featured exclusively music.

Brown’s Seize The Time is largely unrecognized by scholars and music fans alike; in researching the album for this article, I only found one comprehensive record of it by Michael Lupo of Répertoire International de Littérature Musicale on Smithsonian. From my knowledge of public history projects documenting music of the era, only PBS’s Fight the Power seems to have recognized it (and only in a passing montage of relevant albums). There is no official set of transcribed lyrics either; the original record did not include any with it, and open-source databases like Genius have not tackled the 10 tracks. Fortunately, the album (and its remaster) are available on the major streaming platforms and have not been lost to time just yet.

When I first envisioned this BHM mini-series, Seize The Time was the album I had in mind and most desired to write about. It represents a key shift in the canon of Black protest music in many ways. First, the songs are all composed and performed by a Black woman, one who was often ostracized by her fellow revolutionaries. Second, it predates the move towards overtly political music found in the `70s. Lastly, it demonstrates a unique application of protest music wherein the music serves in a direct-action/political praxis role, beyond “calls to action” or indictments.

Brown was classically trained in both music and dance in her youth, producing a certain restricted philosophy of praxis demonstrated in Seize The Time. Her music leans away from the powerful and raucous funk and soul of the `60s in favor of a more refined, authoritative tone. Though some of her contemporaries resisted this style, higher-ups in the party (namely Huey P. Newton) were fans of her music and supported her songwriting. The arrangements and orchestration were done by Horace Tapscott, pianist and jazz band leader, further solidifying the sound of Brown’s music into existing tradition.

Despite her western-influenced training, the lyricism of Seize The Time consists of a wide range of critiques. In the tracks, Brown addresses systemic racism and oppression, but also engages with the often violent, male aesthetic of the BPP. In “The End of Silence,” Brown includes these lines:

And you can’t go on

With this time-worn song

That just won’t change the way you feel

Well then, believe it my friend

That this silence will end

We’ll just have to get guns 

And be men

Though Brown was known for her ardent anti-sexism stance with the BPP (which often abused and overworked her and other women despite their majority and important contributions), the gendered language of her music leaves much to be desired. See also this excerpt from “The Panther,” which aimed to paint the BPP in a strong, revolutionary light: “He is a hero, he walks with night / His spirit’s beauty, his soul is right … His face is black and he would die for you / To get your freedom back.”

I find that contextualizing Brown’s classical training as well as her high ranking in the party is central in understanding her portrayal of the Black revolutionary. History has often looked upon resistances through the lens of individuals, such as that of Great Man Theory; even today, names like Newton, Bobby Seale, Fred Hampton, Eldridge Cleaver and those of other Black men are used almost metonymically to reference the Black Power movement of the era. Brown met the BPP where it was, both politically and musically, but consistently challenged the party and its leaders to do better and to approach the Black experience with more intersectionality than its founders had originally intended.

Brown’s leadership in the party, and also her musical contributions to the soundscape of Black liberatory politics are key components in the construction of an accurate and holistic narrative of the BPP and protest music. Though Seize The Time never received airplay, charted or earned Brown much compensation, her work as a musician has recently begun to be recognized for its impact on her contemporaries as well as Black protest music as a whole. Records of her activism now often mention her musicianship alongside her politics. Beyond her direct successors, artists such as Alicia Keys have also memorialized her impact on Black music. 

In publishing this mini-series, I hope to recognize and reframe our memory and understanding of Black women artists who have approached, engaged and shaped protest music over the last half-century. It is on their backs that we are able to celebrate the male figures that have come to dominate contemporary narratives of protest music. Through continued efforts such as these, music scholars, fans, archivists and the general public can begin to have a complete understanding of the history of Black protest music.

MiC Assistant Editor Cedric Preston McCoy can be reached at cedmccoy@umich.edu.