Bad Bunny reinvigorates salsa, packing studios and clubs with newcomers
By Kiara Alfonseca | Edited by Patricia Guadalupe
Bad Bunny – or, at least, a photo of him – watches over the streams of salsa newcomers packing into a warmly lit dance studio at Salsa In Queens. It’s a fitting name for a dance school in Queens, New York.
The studio has seen an uptick in interest for their salsa class offerings since Bad Bunny’s latest album, DeBÍ TiRAR MáS FOToS, was released in January. The album’s references to salsa classics of the ‘70s and its homage to his Puerto Rican heritage have led to a renewed wave of recognition for the Afro-Caribbean dance styling.
Salsa In Queens, which has been in business for eight years now, also noticed a recent rise in students with Hispanic roots looking to reconnect with their heritage from around the time the album dropped.
“I’ve heard plenty of students that either grew up or were born here, but are of Hispanic descent, and have felt separated from their culture enough that they want to do something about it now,” founder and lead instructor Jean Franco Vergaray told palabra.
Omar Bato, a Salsa In Queens instructor, demonstrates steps during a class at the dance studio.Photo by Kiara Alfonseca for palabra
They’ve seen so many new Latino clients that they’ve even begun hosting bilingual dance classes to cater to the growing interest from non-English speaking community members looking to take a class.
“I was very receptive to Bad Bunny’s new album because it was a great canvas to open this salsa world to a group of people that probably were standing at an arm’s length,” said Vergaray, adding, “They knew (salsa) existed, they heard of it, but they were never interested enough to even look that way directly.”
Bad Bunny’s latest album is filled to the brim with political and personal messages about his heritage and the issues plaguing the island. Though the album is in part a call to action against gentrification and colonialism, the musical history lesson also memorializes Bad Bunny’s roots and the impact of those who came before him.
“The whole album functions as this warning that the influx of Americans and the kind of hyper-gentrification of this island, that the culture and land of the island itself are at risk,” said Petra Rivera-Rideau, a professor of American Studies at Wellesley College who created the Bad Bunny Syllabus, an online document that explores the historical symbolism and references within Bad Bunny’s artistry and the cultural significance of how he engages social politics within his music.

Bad Bunny’s latest album delivered political messages while reigniting salsa music’s popularity among loyal listeners.Photo by Kiara Alfonseca for palabra
Bad Bunny told Billboard Magazine that he hopes the album can facilitate connections between different generations; it’s a goal seen in the references to island music genres such as bomba y plena and música jíbara, along with classic salsa songs, and comforting references to life back home in Puerto Rico.
When the album came out, Rivera-Rideau experienced these bonds forming in her own family.
“From the perspective of my children, it’s like a cool thing by this rapper that they love to listen to. And then, from the perspective of my father, a song that pulled from these very traditional musical elements, it fostered that conversation where he could explain it to my kids,” she said.

Vinyl recordings of classic salsa, pop, and dance albums line the lobby at Salsa In Queens.Photo by Kiara Alfonseca for palabra
These themes hit home not just for Puerto Ricans, but those from across Latin America.
Brianna Ochoa is the Ecuadorian owner and instructor of Bri’LaFlor Dance Studio in Dover, New Jersey, and she made what she calls an unexpected but welcome mistake when she first advertised her Bad Bunny-themed salsa class on social media with the hopes of enticing a few new students.
In just one day, the post earned thousands of views online, and 150 people had signed up for the class, though her studio can really only comfortably fit 85. Her regular students couldn’t even sign up through the online portal: “I couldn’t recognize one name on the whole list,” she said.
“Everyone was connecting with each other,” Ochoa added. “They were all there to take a class, but it felt like a club. Everyone was bumping and dancing before anything even started.”
So, she did what she had to do: plan more classes.

Dance students have flocked to salsa studios since Bad Bunny’s latest album largely featured salsa rhythms.Photo by Kiara Alfonseca for palabra
For Vergaray, his classes aren’t just about the technicalities of the dance, but about that social community which is inherent to the traditions of salsa.
It’s evident in the way strangers-turned-classmates spill out of the studio during the class break, opening up to one another about their motivations for taking the class or the trouble they’re having with their footwork.
“The most rewarding part, when I look at the studio and the impact that we’ve made, is the micro cluster of communities that start to form,” says Vergaray.
Fans continue to pack album listening parties and themed DJ sets around the country as Bad Bunny prepares for his summer concert dates in Puerto Rico and a fall world tour that will take him to Australia, Spain, the Netherlands, and Tokyo, among other cities.

The Salsa In Queens community finds joy uniting through Salsa’s vibrant beats.Photo by Kiara Alfonseca for palabra
Salsa feels like it’s everywhere now. For Jacob Lugo, a Puerto Rican salsa instructor in New York City, it’s a welcome sight (and sound).
“When I’m eating at a restaurant, when I’m sitting outside and people are playing music somewhere – there’s salsa,” Lugo said. “It’s bigger than just music. It’s bringing us back to our roots.”
He continued, “For me, it’s always going to go back to connecting with people. It’s very common in the Latin scene that we just play music, where you could dance with each other. You don’t have to dance by yourself all the time. You can actually connect with someone and share a song together, share a memory together through that music.”
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