Drawing upon Rancière's argument that aesthetics instigates politics, Latour's rethinking of agency as relational, and Ortiz's work on Afro-Cuban music aesthetics, this article explores how the experience of aesthetic pleasure in Cuban timba grooves makes politics audible and affective in novel ways. Through a combination of ethnographic and musical analyses of Havana D'Primera's performance of ‘Pasaporte’ live at Casa de la Música in 2010, it unpacks the political affordances of call-and-response singing and polyrhythmic timba grooves among participating listeners in Havana. In contrast to the recurrent tendency to exclude musical details from research into the politics of music, this article suggests that engaging grooves and catchy melodies do important political work as musical actants by creating affective communities and new expressions of political critique. The concept of musical actants serves as a lens through which to view these pregnant interactions between rhythmic, melodic, social, and political meanings in time.

中文翻译：

---

音乐演员的政治力量：哈瓦那 D'Primera 的“Pasaporte”中的凹槽、乐趣和政治生活在哈瓦那

本文借鉴朗西埃关于美学煽动政治的论点、拉图尔对作为关系的代理的重新思考以及奥尔蒂斯关于非洲-古巴音乐美学的工作，探讨了古巴定音律动中的审美愉悦体验如何以新颖的方式使政治变得可听和具有情感。通过对 Havana D'Primera 于 2010 年在 Casa de la Música 现场表演的“Pasaporte”的民族志和音乐分析，它揭示了哈瓦那参与听众中呼唤和响应歌唱和多节奏 timba 凹槽的政治可供性。与将音乐细节排除在音乐政治研究之外的反复趋势相反，这篇文章表明，通过创造情感社区和新的政治批评表达方式，引人入胜的节奏和朗朗上口的旋律作为音乐表演者做着重要的政治工作。音乐行为者的概念是一个镜头，通过它可以及时观察节奏、旋律、社会和政治意义之间的这些孕育互动。