When you hear an instrument speaking to you, listen closely. I visited Puerto Rico earlier this year to inhale and exhale but spent most of my time listening and learning the Black rhythms of the island. I attended live performances, two nights in a row, that included Black Puerto Rican dancers. The drums begged me, and I believe everyone else, for a dance.
In September, Black Puerto Rican reggaeton artist Rauw Alejandro graced the Video Music Awards for the first time. While performing a few hits from his past and upcoming albums, he ensured that his Black Puerto Rican roots were center stage. Throughout the performance, two large Puerto Rican flags embraced the crowd with warmth and welcome.
One segment of his performance included Bomba dancers and musicians. Bomba is a musical genre, instrument, and dance style that originated in Puerto Rico over 400 years ago. It was developed by enslaved Africans and their descendants on cane sugar plantations. They used Bomba to express sadness, anger, and resistance through drums played in dance gatherings called Bailes de Bomba (Bomba Dances). Bomba was also used to celebrate baptisms and marriages, communicate with each other, and plan rebellions.
Bomba is a significant expression of Puerto Rican culture and is still one of the island’s most famous folk music genres. Bomba can be upbeat and enthusiastic or sad and spiritual.
By highlighting Bomba on a show with 4 million viewers, Rauw reminded the world that Black Puerto Rican history, culture, and visibility are vital. We uplift constant reminders of Black Latino resistance and joy today and beyond Hispanic Heritage Month.
Armonté Butler (He/Him) is a Black Latinx writer and activist based in Washington, D.C. He is passionate about adolescent sexual health and supports LGBTO youth of color and youth living with HIV to become activists and leaders in their communities, on their campuses, and at the institutional, state, and federal levels.