descendants and the musical genres like Hip-hop for disseminating the African heritage . Osvaldo Navarro , a musician from the Hip-hop group " La Alianza " and active partner in the expansion of the magazine IDENTIDADES across Cuba , illustrates in “ Space of Identity ” the difficulties faced by the creators to disseminate the critical discourse within the Cuban cultural field and to find spaces of convergence criteria on essential topics related to the sociocultural and political life . He tells us about his first experiences with IDENTIDADES as cultural animator in the presentations of the magazine , while establishing a very encouraging contrast between those attending these meetings and the auditoriums of the musical shows in which he had participated until then . The other member of " The Alliance ", Yoandri Kindelán , contributes with a very coherent article about the lacerating realities in Cuban society affecting the youth . In his case , such realities generated both a great psychological shock and a radical transformation of his personal projection regarding the vaunted revolutionary process under the same imposed educational system referred above by Jose Hugo Fernandez and Veronica Vega . The violent police forces , the corrupted courts and the manipulating press are vividly exposed in “ Remembering It Is to Live It Again ” Yoandri Kindelán shows the damages generated by indoctrination and the suffering of young people facing manipulations and realities . He also offers us a couple of valuable poems . The rest of the works in this section clearly testify to the prohibitions imposed over the expressions of the alternative culture and its social function . Rudisel Batista dedicates “ Discrimination and Censorship ...” to Yorvanis Ramírez , a young exponent of Hip-hop in Manzanillo . His creations have plenty of high social value and critical sense , but have provoked the aversion of the culture commissars . Although some official organizations allow him to perform , he is forced to follow certain regulations under penalty of getting off the stage if , as he uses to say , " throws it strongly ". The excessive oppression and censorship reached the point of being arrested and sentenced to prison : " All this because a certain person did not like the lyrics of my songs , which only say the truth of my people and my crowd ." Aminta D ' Cárdenas relates in “ It ' s Not A Matraka of Mine ” the youthful pretensions that she shared with a group of friends and Hip-hop creators immersed in cultural projects and events . She focused on the Rotilla Festival , its social impact and the consequences that she had to face when this event , established with personal efforts , gained international connotation . This " excellent artistic proposal ", as she qualifies it , ended up being intervened by the authorities of the culture under the accusation , among others , of using financial funds from questionable origins . And so , the festival , at its best time , ceased to belong to its creators overnight . The art as victim is also the main topic in “ Rock in Cuba ...,” by Marcia Cairo . After the triumph of the revolution , rock became a proscribed and persecuted genre , was deemed a social danger and it have hardly had some spaces , always subjected to all kind of review and censorship . Wherever it achieves some popular impact and prestige , the space is usually closed . When artistic and cultural projects and creations are available to the population , they do not only contribute to collective meditation about everyday life ’ s issues , but also to the awareness of the need for social changes and the ways to achieve them through the involvement of all . Thusly , the boundaries set by the totalitarian control are trespassed . Then
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