What should be the format of an Afro-Cuban or Afro-Caribbean sounded ethnography? This presentation of various digital sound+text+visuals artifacts follows Feld’s notion of acoustemology and McKittrick’s elucidation of a Black method, to examine the place of analysis in Global South methodological approaches to digital anthropology, and a direction of poetics emerging after archival work around recent urban Afro-Cuban music.

Pablo D. Herrera Veitia obtained his PhD in Social Anthropology from the University of St. Andrews. He is a scholar-practitioner working at the intersection of Orisa worship, hip hop studies and multimodal ethnography. His research explores what it means to be Afro-Cuban in post-socialist Havana and follows divinatory figures in the Odù Ifá literary corpus as primary conceptual sources. As one of Cuba’s pioneering Afro-Cuban rap music producers, Herrera Veitia proposes that understanding Afro-Cubaneity today may require a focus on recent shifts in the audible character of Havana and how the city’s sonorous dimension presents itself as a site where citizens contest state ideology through loud and discrete amplification practices. Herrera Veitia is a 2018-2019 Nasir Jones Fellowship recipient at the Hiphop Archive and Research Institute, Hutchins Center for African and African American Research, Harvard University. His writing has appeared in Revista Casa de las Americas, Metronome’s documenta 12 Magazines issue, and OkayAfrica.com. He has also collaborated on several major academic research projects on rap and reggaeton music in Havana, including Sujatha Fernandez’s Cuba Represent and Close to the Edge, Tanya Saunders’s Cuban Underground Hiphop; Marc Perry’s Negro Soy Yo; and Geoff Baker’s Buena Vista in the Club.

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