Pedagogies of the Vulgar: Lessons in Caribbean Music

Theorists like M. Jacqui Alexander, Édouard Glissant, Saidiya Hartman, Carolyn Cooper, and Michelle Wright, this project reconsiders the “vulgarity” often attributed to Caribbean musical genres, like dancehall, dembow, and reguetón, as a pedagogical practice: an embodied, sensorial way of knowing that challenges colonial and racialized modes of aesthetics, morality, and order. Through an examination of Vybz Kartel’s Fever, Tokischa’s Sistema de Patio, and Bad Bunny’s El Apagón, I examine how sound, image, and movement converge to create what Alexander calls “pedagogies,” which simultaneously disturb and instruct. These pedagogies of the vulgar illuminate the ongoing impact of colonialism and plantation slavery in the Caribbean, particularly the gendered extraction of labor and capital that continues to shape daily life. In this context, vulgarity is not simply performed but inverted, prompting us to ask what is truly vulgar; Caribbean music and dance, or the systemic violence of Western modernity? These pedagogies foreground the paradoxical beauty of violence and survival, revealing how Caribbean peoples reconfigure “vulgarity” to craft pleasure and freedom amidst constraint. Embracing Michelle Wright’s concept of “epiphenomenal time,” this study invites readers to watch, listen, and feel; reminding us that the pedagogy of the vulgar must be embodied to be understood.