In 2014, Enrique Iglesias shattered Latin music records with his hit song, “Bailando,” in collaboration with Afro-Cuban artists Descemer Bueno and Gente de Zona, thereby firmly planting himself within the Latin urban music scene. “Bailando” ushered in a new wave of reggaeton-pop fusions that have since dominated the Latin pop market. In so doing, it follows a larger historical trajectory of white Latino artists performing Afro-Latino musical practices, in this case reggaeton. This paper examines media coverage surrounding “Bailando” alongside the song’s accompanying music video to consider how it constructs Latino whiteness. I argue that this Latino whiteness is distinct from US whiteness, but still reproduces racial hierarchies that inform dominant constructions of Latinidad.

中文翻译：

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重塑恩里克·伊格莱西亚斯：在拉丁城市场景中构建拉丁裔白人

2014 年，恩里克·伊格莱西亚斯 (Enrique Iglesias) 与非洲裔古巴艺术家 Descemer Bueno 和 Gente de Zona 合作，凭借他的热门歌曲“Bailando”打破了拉丁音乐记录，从而将自己牢牢地植根于拉丁城市音乐界。“Bailando”迎来了新一波雷鬼-流行音乐融合风潮，此后主导了拉丁流行音乐市场。这样做，它遵循了白人拉丁裔艺术家表演非裔拉丁裔音乐实践的更大历史轨迹，在这种情况下是雷鬼音乐。本文考察了围绕“Bailando”的媒体报道以及歌曲随附的音乐视频，以考虑它如何构建拉丁裔白人。我认为这种拉丁裔白人与美国白人不同，但仍然再现了种族等级制度，这些等级制度为拉丁裔的主导结构提供了信息。