Pablo D. Herrera Veitia is an Afro-Cuban poet, Hiphop producer and scholar. He is, currently a Social Anthropology PhD Candidate at the University of St. Andrews, Scotland; and a 2018-2019 Nasir Jones Fellow with the Hiphop Archive and Research Institute, Harvard University. Havana’s Noise and Rhythm: Understanding Afro-Cubaneity, the doctoral dissertation Herrera Veitia is presently writing, explores the relationship between the sounds of Havana’s recent urban Afro-Cuban music, Havana’s Afro-Cuban life, and Afro-Cuban citizenship practices.

Herrera Veitia is arguably Cuba’s most influential beat-maker and a pioneer of the Afro-Cuban and Cuban Hiphop sounds who has also managed urban musicians and music-related projects in Cuba for over twenty years.  His cultural production work has contributed directly to the careers of many of the most important rap cubano artists. To his credit as a cultural producer goes the coordination of the Black August Collective showcases in Havana. A series of US-Cuba people-to-people music events, Black August, brought to Havana’s International Hiphop Festival, presentations by Mos Def and Talib Kweli’s Black Star, Hi-Tek, Dead Prez, Common, Tony Touch, and Project Blowed between 1998 and 2002. Pablo helped coordinate Rascalz, The Roots, and K’naan concerts in Havana amongst other projects where he has acted as consultant and facilitator of culture between Cuba and other countries, most notably the UK.

His writing has appeared in publications such as Lonely Planet, Cuba’s Revista Casa de las Americas, and more recently on where he developed the site’s current profile on Afro-Cuban culture. He has been a collaborator in several major academic research projects on rap and reggaeton music in Havana. Some of those projects include Sujatha Fernandez’s Cuba Represent (2006) and Close to the Edge (2011)Geoff Baker’s Buena Vista In the Club (2011); Tanya Saunders’s Cuban Underground Hiphop (2015); and Marc D. Perry’s Negro Soy Yo (2015). 

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