Musicians - Krudas

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	Musicians - Krudas

==Brief history== Black sisters Wanda and Odaymara Cuesta, together with Olivia Prendes, Odaymara’s partner, began the hip hop group Krudas in Havana, Cuba in 1999. The group is presently composed of Odaymara and Olivia, after Wanda left Cuba in 2004. Krudas launched their first demo CD, Cubensi, in 2004 before Wanda left. In 2000 Odaymara, Olivia, Wanda and her partner, along with other women and men, mostly black, lesbian and gay people, formed Tropazancos. This is a group of actors, stilt walkers and jugglers who carry out street and theater performances (mainly for children) in downtown Havana and also through the country. In addition to leading the hip hop duo and the street performance group Tropazancos, Krudas have also organized a collective of female hip hop artists, Omega, to help promote a positive and diverse image of women in Cuban society. Members of Omega are collaborating by generating larger projects, including all-female collective performances, recordings, and workshops.

Krudas' Lyrics

Krudas embody a feminism of difference as purported by feminist philosopher Luce Irigaray. Krudas' lyrics and music focus on the construction of female identity, resorting to the very elements that Irigaray proposes in her work, such as the emphasis on the first person and mimetic repetition. Irigaray affirms that the central principle of western philosophy and culture is always male; for "any theory of the subject has always been appropriated by the 'masculine.'" She further argues that women, in fact, have been deprived form their own identity, and reduced to a "mirror" for the male gaze to reflect upon itself. Irigaray stresses that this "logic of the Same" is embedded in language itself.

Krudas conceive language itself as the root of female exclusion. Their songs represent an effort to challenge semantics and syntax. They summon men to dialogue, refusing any sort of hierarchical relationship. In one of their songs, the chorus insistently affirms, “we are just different.” Krudas emphasize on the use of the first person--we usually hear the repetition of the first person “I” (“yo”), sometimes followed by their names to further personalize their discourse. Krudas' first person extends beyond mere autobiographical narrative; their “I” is an attempt to formulate a double subjectivity, what Irigaray calls “I-she” (“Je-elle”) and “I-he” (“Je-il”). Krudas' use of mimicry and the first person has an extremely powerful effect, perhaps the most compelling one, along with their openness about their real identity: lesbians of African ancestry.

Professor Norma R. Guillard Limonta points out that Krudas: "courageously recognize and accept themselves as they are, for they believe in diversity and evoke the need to be strong to face up to anything since everyone has that right." Limonta stresses the bravery of Krudas' message and their ability to both communicate and educate.

Analysis of Krudas' Lyrics by Cuban Prof. Norma R. Guillard Limonta

In our discussions we stressed the importance of educating and providing adequate information on gender at an early age, by way of school, family, the media, religion and every available socialization tool, using as much help as possible with a view to identity build-up. Anyone regardless of his/her age can hear the message coming from a song’s lyrics. In their lyricss, Las Krudas offer various kinds of messages which evoke strength, courage, positive energy and feelings related to race, identity and diversity. Independently produced, their record Krudas Cubensi includes songs such as:

1. Vamo’ a vencé

A proposal of confrontation and unity to overcome hardships. An acknowledgment of their being female rappers who know very well about the difficulties involved. They make a call to raise awareness and appeal to their ancestors’ help to break molds and develop the pride of being black women. Still an interesting way of having a thought voiced by many feelings of unity to construct their utopia.

2. Pa’ keténtere

Topics related to self-recognition and calls for men to think about their mistaken concepts of a woman’s role and to realize that women are neither sex objects nor servants. They highlight the patriarchal historical drama and flaws in their teachings. The concept of beauty with no influence of every one’s nature, and that of reviewing our own image and ideal self. They acknowledge historical women, their heroic deeds and the strength they must inspire in us.

3. Madre Natura

Once again relying on nature as life’s root, which is bound to become a tradition. Nature’s beauty and that of its stars and planets, and its elements, mythical and full of energy. On the recognition of the black race and its own type of beauty, and the need to modify inherited esthetic codes. A quest strong enough to penetrate and change the subjectivity of black women with a complex.

4. Usted

Provides a very good idea to gather men in the understanding of this change of thinking, unite them to the runaway slave’s spirit and have them mix their fluids spontaneously to, men and women together, do.

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