Pacini-Hernandez "Dancing with the Enemy"

Pacini-Hernandez reviews the role of Cuban music in the music industry. Firstly, she describes the two major potential markets for Cuban music: world music (denoted by the valued perception of authenticity) and world-beat (more dance oriented, meaning percussion, meaning African-heavy). Cuban recordings of world music did not take off until David Byrne thrust himself as a producer into the space.
The Cuban government encouraged and subsidized music of all kinds, and particularly Afro-Carribean musics. While this was certainly not the only music whose exploration was supported by the government, it has become Cuba's chief musical export. However, Cuban musicians fall into a trap- they must appeal to the local (Cuban) population enough to gain an American (tourist) audience and these two value different things. The Cuban government has attempted to involve the process of getting groups produced to raise funds. Once groups are "discovered", they are left to navigate a complex and unfamiliar American music industry, economy, and political state.