With Cuba seemingly becoming the next focus for the Trump administration, it is worth looking into previous efforts by the United States Agency for International Development (USAID) in the country. Today, we turn toward the agency’s connection with Cuban hip-hop.

In 2008, USAID launched the Cuban Civil Society Support Program, an initiative focused on supporting independent organizations and building communication networks on the island. Implemented by Creative Associates International, the four-year program ran until 2012. While presented as a democracy promotion initiative, internal documents revealed efforts to support artists and organizations viewed as potential challenges to the Cuban government.

Through the social media network TalentoCubano.net, Cuban musicians were promoted to the public. Publicly, the website presented itself as a platform to showcase Cuban musicians, featuring artist profiles, news, events, and online radio. With over two hundred artists on the platform, contractors hoped to connect young Cubans into a “social movement.”

The project was more than just online networking. Participants were brought into workshops focused on web development, video production, and project management in locations such as Amsterdam and Madrid. While presented as cultural exchanges, reports described them as a “great cover story for the authorities on the island.” 

In order to obscure the program’s origins, contractors reportedly used codenames, encrypted communications, and cover stories while funding was conducted through a front company in Panama with internal documents identifying the company as B&S Salida Inc.

Through official documents, Creative Associates International was paid millions of dollars to support Cuban musicians who could challenge the government. Led by Rajko Bozic, the project was modeled after the student protest concerts in Serbia that helped undermine Slobodan Milošević in 2000. Contractors believed Cuban hip-hop had “great potential” as a way of “gathering to confront the censorship imposed on hip-hop.”

One of Bozic’s main focuses was the hip-hop group Los Aldeanos, who were targeted because they were already critical of the Cuban government. Efforts included thousands of dollars to develop a television program titled “Youth TV” starring the group, with plans for distribution through DVDs designed to bypass Cuban censorship.

Hip-hop’s growing influence in Cuba also brought more attention from the authorities. The weekly Hip-Hop Wednesday events at Barbarán had become a meeting place for Cuba’s underground rap scene with around two hundred people. In response, authorities shut the events down, demanded song lyrics before performances, and pressured organizers.

Contractors also sought to increase Los Aldeanos’ international visibility, developing strategies to involve Colombian musician Juanes and Puerto Rican group Calle 13 in the project, with the goal of providing greater legitimacy and protection for independent Cuban musicians.

A major focus was placed on the Rotilla festival, which attracted crowds of nearly 15,000 people. Even after concerns emerged that Bozic’s USAID ties could become known, contractors continued with the plan. Cuban authorities later took over the festival after linking it to the USAID-backed operation.

The group was unaware of these efforts, even as they received political training when they performed in Serbia. Internal documents described their intended role as “agents of social mobilization.”

Los Aldeanos denied knowingly participating in the USAID-backed operation, with member El B stating, “Everything I did, I did because I wanted to. I never felt used at any time.”

Rotilla founder Michel Matos was similarly unaware of the USAID connection, later stating, “If I get money from the American government to take cultural action, it’s not that I just have a problem with the Cuban government. I have a problem with Cubans.”

USAID defended the program, arguing it was legally funded by Congress. Agency spokesman Matt Herrick stated, “It seemed like a good idea to support civil society.”

Once the operation became public, Senator Patrick Leahy (D-VT), chairman of the Senate Foreign Operations Appropriations Subcommittee, called the program “reckless,” “stupid,” and “an irresponsible use of taxpayer money.” Several hip-hop artists later left Cuba or stopped performing following pressure from Cuban authorities.

While the initiative ultimately failed to achieve its objectives, it was far from USAID’s only effort aimed at influencing events in Cuba. That, however, is a story for another day.