Ariel Fernández Diaz Activist, Writer/Lecture, and Filmmaker. Social-Cultural Issues Covering Cuba, Hip Hop, Race and Beyond.

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1 PORTFOLIO Ariel Fernández Diaz Activist, Writer/Lecture, and Filmmaker. Social-Cultural Issues Covering Cuba, Hip Hop, Race and Beyond. For inquires, Contact: ASHO PRODUCTIONS: Office: Mobile: AIM & Skype: asho Web:

2 Ariel Fernández Diaz Critical Acclaim Ariel Fernández does everything but rhyme. He s a DJ, radio personality, promoter, manager and journalist. If you want to know everything about Cuban Hip Hop, ask him. His drive and dedication to the movement is relentless. Mimi Valdés: Former Editor in Chief of Vibe Magazine/ Current Editor in Chief of Latina Magazine To manage the hip-hop beast the Cuban state had chosen someone who fit the demographic. And someone with credibility on the street: Ariel had been one of the hip-hop s Cuban pioneers. As a diplomat, he had mad skillz and righteous flow Eugene Robinson: Associate Editor and columnist for The Washington Post. Author of Last Dance in Havana. "Cuban cultural representatives and music producers have played a vital role in the development of Cuban hip-hop and have acted as intermediaries between rappers and the state. The state increasingly came to see the value of Rap promoters such Ariel Fernández, who had official positions in state institutions, but also significant credibility among Cuban rappers and in international circles. Fernández himself was one of Cuba s best DJ s and at concerts he was something of a local star, in comparison with the cultural bureaucrats Fernández has Impressive international connections and are aware of the influence he wield at the local and international level. Fernández uses his credibility at the base to push for change, but is willing to see the hip-hop movement work in critical alliance with official institutions." Sujatha Fernandes: Author of Cuba Represent! Cuban Arts, State Power, And the Making of New Revolutionary Cultures. "Mr. Ariel Fernandez's information and work on the development of the Hip-Hop Movement in Cuba has added scholarly insight, understanding and vision to the history and contemporary development of this art form on the island. His first hand experience and analysis of the growth of Hip-Hop in Cuba, methods of entry, survival and continued force as a voice of the new youth generation brings rich first hand research to a subject area that is yet to be fully understood and researched by scholars. Mr. Fernandez is thorough in his mapping of the trajectory of Hip-Hop in Cuba linking it to the global African Diaspora cultures that are rooted in similar histories yet each having a unique cultural contribution connected to the cultural realities of each society. He appears in the documentary When the Spirits Dance Mambo as one of the scholars interviewed in Cuba providing historical context to the survival and practice of African Base Traditions that have had world influence." Martha Moreno Vega: Founder and Director of Caribbean Cultural Center African Diaspora Institute. 'It's not often in this country that we find academics or intellectuals who are able to wax about Hip-Hop, and Cuba- who are actually from the Hip-Hop generation, but Ariel Fernandez is more than just a product of Hip-Hop and Cuba. Without a doubt he is the only definitive expert in the United States on contemporary Cuban culture, Cuban racial politics and Cuban Hip-Hop. He has not only spent his entire life studying it, analyzing it, and documenting it- he has lived it." Danny Hoch: Actor, Playwright, founder Hip-Hop Theater Festival "Ariel Fernandez Diaz is a Hip-Hop luminary whose work crosses disciplines, and forms the foundation of rap cubano's journalistic canon. An organic intellectual and cultural activist molded by his definitive role in nurturing Cuban Hip Hop- and Cuban youth culture and communities, by extension Ariel is a dynamic voice worth engaging on either side of the Florida Straits." Marinieves Alba: Cultural Activist and Social Entrepreneur. Co-founder of International Hip-Hop Exchange (IHX). "Mr. Ariel Fernández Díaz is a vital resource on any issue having to do with contemporary Cuba, and especially the history and significance of hip hop in present-day Cuban culture. He is fluent and articulate in Spanish or English, and speaks on the basis of first-hand knowledge of the Cuban cultural and musical experience. Having spoken with him individually at great length, and been present at many public events at which he spoke, I have been consistently impressed by his range of knowledge and sharp critical intelligence. His presence enriches any public event, and contributes to the historical and cultural knowledge of contemporary students and the general public." Professor Juan Flores: Department of Social Cultural Knowledge, New York University.

3 Ariel Fernández Diaz Biography Havana-born Ariel Fernández Díaz is undoubtedly a man on a mission. An internationally renowned cultural critic, Hip Hop historian, journalist, essayist and event organizer, Ariel has distinguished himself as a leader and advocate of Cuban youth culture and socialcultural movements. A widely acclaimed lecturer and proponent of the Cuban Hip Hop movement, Ariel is best described by Vibe magazine: Fernández does everything but rhyme. He's a DJ, radio personality, promoter, manager and journalist. If you want to know everything about Cuban Hip Hop, ask him. His drive and dedication to the movement is relentless. For many, Ariel is simply seen as a genuine organic intellectual with the vision of a socio-cultural entrepreneur. Driven by his belief in the power of music to transmit ideas and build community, Ariel started his career as a local DJ in 1996 with a self made audio system DJing in Havana's premier nightclubs and venues. Determined to further his knowledge of technology, Ariel decided to become a sound engineer, pursued studies in the field, and later went on to work at Radio Ciudad Habana. Disappointed by the exclusivity in mainstream music media, Ariel re-affirmed his commitment to creating a space for new voices, using the rap cubano movement as his tool of choice. A fiery orator, Ariel presented his vision for inclusive cultural spaces and discussed the importance of Black-centered media at the 4th Annual Cuban Hip Hop Festival, which led to the publication of his spontaneous speech by an intellectual alternative press called El Caimán Barbudo. This article gained national recognition for Ariel s work as a youth and cultural advocate, making him the first journalist and cultural critic to address rap cubano as a socio-cultural movement, and making Ariel a much sought after voice in Cuban media outlets and popular culture forums. Just as Ariel s foray into print media began to take shape, producers at Radio Metropolitana offered Ariel a segment called La Esquina del Rap (Rap s Corner). This humble attempt at creating an intergenerational dialogue and cultural change through youth culture in Cuba, went on to become the most influential radio program for the rap cubano movement. This, coupled with Ariel s continued work in print media, led him to interview Hip Hop and Jazz greats, as well as activists from around the world, including Anónimo Consejo, Obsesión, Orishas, Mos Def, Talib Kweli, Common, The Roots, Steve Coleman, Roy Hargrove, Dead Prez, Tony Touch, Danny Glover and Harry Belafonte. His articles and essays have appeared in magazines such as Salsa Cubana (Cuba), Hip Hop Nation (Spain), In the House (Puerto Rico) and Touch (England). He himself has been interviewed and featured in The Village Voice, The Source, One World, Vibe, Black Book, Trace, Stress, Juice (Germany) and Liberation (France). In 2000, Ariel was selected by local MCs to become the lead organizer of the rap cubano movement for the Asociación Hermanos Saiz (AHS), a non-governmental (NGO) cultural institution that promotes new forms of artistic expression in Cuba. Ariel was later promoted by AHS to National Hip Hop Promoter, a national title whose responsibilities included producing events, advocating on behalf of the rap cubano movement in national and international cultural dialogues, and serving as liaison to international delegations and visiting artists. In this capacity, Ariel produced hundreds of events, conferences, festivals and shows, including the National Hip Hop Festival Havana Hip Hop and the historical performance of Hip Hop band The Roots in December of The Washington Post s Eugene Robinson said of Ariel, As a diplomat, he had mad skillz and righteous flow. This work paved the way for Ariel s role as Founder and Editorial Director of Movimiento, the first and only magazine in Cuba dedicated to Hip Hop culture and contemporary Afro-Cuban issues. As a leading voice in the rap cubano movement and a once enthusiastic radio producer and host, Ariel later created and hosted Microfonazo, Cuba's only national Hip Hop radio program. Merging his innate capacity to organize and mobilize with his keen eye for detail and passion for music, Ariel also served as co-executive Producer for three CD compilations: Havana Hip Hop All Stars Vol. 1 (Papaya Records), the first Cuban Hip Hop compilation ever recorded by a foreign label; Latin Flow (Avoid Records); and Con los Puños Arriba (Egrem Records), the first nationally recorded compilation which includes Cuban Hip Hop s vanguard and most heralded figures. Since 2005, Ariel has lived in New York City where continues to demonstrate his vision, drive, and love for Hip Hop and the arts as vehicles for creating social change. He has traveled around the country as the Cuban Hip Hop Ambassador, doing lectures in prestigious universities and colleges. In just four years, Ariel managed to become curator and producer of First Fridays!, a community oriented and multicultural monthly program at The Bronx Museum of the Arts; joined the Board of Advisors of the International Hip Hop Exchange (IHX) and International Hip Hop Festival at the New Jersey Performing Arts Center (NJPAC); and worked for P.O.V/ American Documentary and The Havana Film Festival New York. Ariel is also a long time collaborator with the Black August Hip Hop Project developed by the The Malcolm X Grassroots Movement (MXGM). He is currently a Op-Ed guest columist for El Diario La Prensa as well as directing documentaries and writing his memoirs. By all means, he continues to bridge the gap between Cuban and international youth communities.

4 ISSN ISSN ISSN ISSN SOLICITADO ISSN SOLICITADO Ariel Fernández Diaz Movimiento Magazine #1 La Revista Cubana de Hip Hop #1 La Revista Cubana de Hip Hop Movimiento Magazine Havana, Cuba Founder and Editorial Director ANÓNIMO CONSEJO / HERMANOS DE CAUSA MADERA LIMPIA / OBSESIÓN / THE ROOTS ANÓNIMO CONSEJO / HERMANOS DE CAUSA MADERA LIMPIA / OBSESIÓN / THE ROOTS The first and only magazine in Cuba dedicated to Hip Hop culture and contemporary Afro-Cuban issues. JUSTICIA / CHUCHO VALDÉS / KRS ONE / SANTIAGO RAP / ORISHAS JUSTICIA / CHUCHO VALDÉS / KRS ONE / SANTIAGO RAP / ORISHAS #2 La Revista Cubana de Hip Hop #2 La Revista Cubana de Hip Hop #3 La Revista Cubana de Hip Hop #3 La Revista Cubana de Hip Hop DOBLE FILO / PIONERO PANDO / THE JUNIOR CLAN / INSTINTO GRUPOUNO / PRIMERA BASE / BLACK AUGUST / DEAD PREZ #4 La Revista Cubana de Hip Hop #4 La Revista Cubana de Hip Hop KRUDAS / OGGUERE / LOS PAISANOS KUMAR / TELMARY / EL TOSCO / PAPO RECORD / DJS

5 Ariel Fernández Diaz Discography Havana Hip Hop All Stars Vol 1 Papaya Records, USA. (2001) Recorded at Abdala studios in Havana, Cuba Project Founder & Director of A&R Sought investors and raised venture capital for project Also acted as coproducer by booking studio recording time and oversaw additional logistics for the foreign investors and their entourage in Cuba coordinating their every detail. Con los Puños Arriba Egrem Records, Cuba. (2002) Mixed and Mastered at Egrem studios Director of A&R Nominated for a Cubadisco Award, Cuba A compilation of contemporary Cuban tracks produced only with Cuban resources. Latin Flow: Havana-Madrid Avoid Records, Spain. (2001) Recorded at Egrem studios in Havana, Cuba Director of A&R for Cuban artists & Producer for The Cuban Portion of album Featured collaborations between artists from Spain and Cuba Coordinated all aspects of the Cuban portion of the album.

6 Ariel Fernández Diaz Quoted in the Media The Source Magazine 1999 USA

7 Liberation News 1999 France

8 Black Book Magazine 1999 USA

9 The Source Magazine 2000 USA

10 Time Magazine 2001 USA

11 Vibe Magazine 2001 USA

12 Dancing with Fidel. Book by Stephen Foehr. Santuary Books 2001 USA

13 Red Eye Magazine 2001 USA

14 El Diario News Oct USA

15 Washington Post 2002 USA

16 NACLA Magazine 2002 USA

17 Rolling Stone Magazine 2003 Spain

18 Aspectos del Campo Cultural Cubano. Book by Isabel Exner. WVb 2003 GERMANY

19 One World Magazine 2003 USA

20 Vibe Magazine 2003 USA

21 Journal of Popular Music Studies 2004 USA

22 Hip-Hop Nation Magazine 2004 SPAIN

23 Blast Magazine 2005 Japan

24 Daily News 2005 USA

25 Cubanet Online 2005 USA

26 Hip Hop Nation Magazine 2005 Spain

27 Revista Temas 2005 Cuba

28 Registro 2006 USA

29 Last Dance in Havana. Book by Eugene Robinson. Free Press Inc USA

30 Revista Temas 2006 Cuba

31 Cuba Represent! Book by Sujatha Fernandes. Duke University Press 2006 USA

32 The Beacon 2008 USA

33 Bronx News 2008 USA

34 SERIE B Magazine 2008 SPAIN GUAJIROS DEL ASFALTO FRENTE A LA PROPAGANDA MALINTENCIONADA QUE RE- DUCE A CUBA A UN PARAÍSO DE RON, TABACO, PUTAS, VARADERO Y CAYO LARGO, NUEVAS GENERACIONES DE CUBANOS INTENTAN ENCONTRAR VÍAS DE SUPERVI- VENCIA EN EL PAÍS DEL TIEMPO PARADO. INTRÉPIDOS FRANCOTIRADORES MUSICALES QUE ABREN PUERTAS A LA MEZCLA DEL FOLCLOR CUBANO, DE LA SANTERÍA Y EL SON GUAJIRO, CON RITMOS CONTEMPORÁNEOS. NO QUEREMOS SER SALSEROS, QUEREMOS SER RAPEROS, AFIRMA UN CANTANTE DE ALAMAR, EL BARRIO MARGI- NAL DONDE A MEDIADOS DE LOS AÑOS 90 NACIÓ EL HIP HOP CUBANO. EL DOCUMENTAL EAST OF HAVANA, DIRI- GIDO POR DOS HIJAS DE EXILIADOS CUBANOS EN MIAMI, JAURETSI SAIZARBITORIA Y EMILIA MENOCAL, INDAGA EN LA HISTORIA DE UNA ESCENA QUE DESAFÍA CONVENCIO- NALISMOS Y ESQUIVA CORSÉS OFICIALES. LA BANDA SO- NORA DE UNA REVOLUCIÓN DENTRO DE LA REVOLUCIÓN East of Havana, la juventud cubana en busca de su identidad POR CARLOS FUENTES FOTOGRAFÍAS DE JASON FLORIO La historia de East of Havana es la crónica de un regreso. Cuando el Che Guevara y Camilo Cienfuegos entraron en La Habana, el 1 de enero de 1959 (Fidel Castro lo hizo una semana después), Jauretsi Saizarbitoria no había nacido. Hija de un matrimonio de cubanos con raíces vascas que abandonó la Cuba revolucionaria en los años 60, siempre escuchó historias nostálgicas desde la otra orilla. Ya con treinta años, pleno dominio del inglés y asentada como DJ en Nueva York, comenzó a preguntarse por sus orígenes culturales, decidió volver a La Habana para retratar la nueva escena musical cubana y convenció a su amiga Charlize Theron para que se sumase como productora. En 2006, Jauretsi culminó East of Havana, el documental sobre el hip hop cubano que dirige junto a la también hija de exiliados Emilia Menocal. Película pegada a la tierra, bien conectada con el ágil latido urbano de los novísimos músicos habaneros, East of Havana indaga también en la realidad cotidiana de Cuba. En su música de trinchera para combatir la desidia con críticas a un sistema que los más jóvenes ven cada vez menos como algo propio. En fin, la pugna de una generación por superar clichés heredados. Siempre se escucha música cubana de otras épocas, sobre todo después del auge de la música tradicional con Buena Vista Social Club, pero esa es sólo una parte de Cuba. Una parte importante sí, pero sólo una parte, explica Jauretsi Saizarbitoria sobre el origen del proyecto. Hemos intentado acercanos a las nuevas generaciones de músicos cubanos y creímos que el hip hop sería una buena forma de averiguar cómo piensan los jóvenes. No fue fácil el camino hasta East of Havana. En Cuba no puedes sacar una cámara a la calle sin tener dos policías encima, siempre teníamos a alguien del Gobierno cubano encima. Pero también enfrentamos problemas en Estados Unidos para conseguir los permisos y tramitar todo el papeleo con la amenaza del embargo y toda esa mierda. La culpa es de los dos lados, así que fue muy difícil hacer entender que queríamos hacer un trabajo conectado con la realidad social cubana, con lo que pasa en la calle. Con esta idea básica, porque, si soy sincera, antes de plantearnos East of Havana no sabíamos mucho de la escena cubana del hip hop, las dos directoras llegaron en 2002 a La Habana. Buscábamos una visión diferente de lo que hoy es Cuba. Y el hip hop, que es parte de nuestro idioma musical y que gran parte del mundo entiende, nos pareció que era una buena forma de hablar de la Cuba actual de una manera moderna y diferente, explica Emilia Menocal, cuya familia abandonó la isla en EN PORTADA

35 Diaspora Strikes Back. Book by Juan Flores. Routledge 2008 USA

36 Harlem Face Online October 2008 USA