This week’s big talking point seems to revolve, on this occasion, around the controversy surrounding the huge Spanish‑language music phenomenon. We are talking, of course, about Benito Martínez Ocasio’s little house, Bad Bunny’s; a segment of his concert in which several public figures (until recently, mostly women) dance live in front of the cameras.
The event has been criticised by conservative feminists such as Paula Fraga (are the women taking part – Marta Ortega, Ester Expósito… – being objectified?) but defended by journalists like Ana Requena and Alejandra Martínez. They argue that there is a deliberate attempt to shine a light on feminism’s contradictions in order to instrumentalise it and, in particular, to cast judgement on the women who go to the concerts of a genre that, although less and less so, is still disparaged today: reggaeton.
At the centre of the storm, but overshadowed by the ideological tug‑of‑war, is the building itself. And like every detail of the touring project “Debí tirar más fotos”, it has a strong activist component rooted in Boricua, or Puerto Rican, identity.
The Caribbean island belongs to the United States as an unincorporated territory – an issue addressed in the tracks on “DTMF” and in Bad Bunny’s public statements. In practice, this means that its citizens enjoy fewer rights than citizens of a US state: they cannot vote in presidential elections, they have no voting representation in Congress, and several activists campaigning for the island’s independence have been imprisoned.
