The 2026 Super Bowl LX halftime show was far more than a pop culture event; it serves as a compelling case study at the intersection of identity politics, cultural representation, and international relations. Bad Bunny’s performance at Levi’s Stadium reignited ongoing culture wars within American domestic politics while simultaneously creating a complex dialogue regarding the U.S. relationship with Latin America and its global soft power. In this context, the show transcended its status as a cultural event, evolving into a phenomenon that is a significant case for study through the lens of political symbolism and international representation.
The most striking feature of the halftime show was the elevation of the Spanish language and Latin American cultural codes to a central position in one of the United States’ most-watched national events. Throughout the thirteen-minute performance, the choice of language, stage design, choreography, and visual symbols presented the concept of ‘America’ not as a term limited to the United States, but as a continental geographic and cultural union spanning North, Central, and South America. This approach offers an alternative perspective to the nation-state-centered understanding of American identity. By moving beyond the narrow framework that limits “Americanness” to Anglo-Saxon references, the performance highlighted a more inclusive vision of identity that positions Latinx communities as foundational and essential elements. Given the demographic weight and political mobilization capacity of the Latinx population in the U.S., this shift carries strategic significance as much as symbolic meaning.
The reactions to the performance illustrate how partisan polarization in American politics has extended into the cultural sphere. President Donald Trump’s characterization of the show as an “insult to America’s greatness” and his description of its content as “incomprehensible” reveal how cultural representation is deeply intertwined with debates over national identity and sovereignty. This backlash demonstrates that language and culture are perceived not merely as aesthetic choices, but as markers of political belonging and power dynamics.
On the other hand, democratic politicians and liberal spheres viewed the performance as a success, framing it as a milestone for multiculturalism and the growing public visibility of immigrant communities. Polling data from Quinnipiac University highlighted a sharp divide, with high levels of support among Democrats contrasted by significant opposition from Republican voters. These findings demonstrate that cultural representation has emerged as a central pillar of ideological division in the U.S., proving that cultural politics and voting behavior are now deeply intertwined.
From an international relations perspective, the performance can be analyzed through the framework of U.S. soft power. Soft power refers to a state’s capacity to exert influence through cultural appeal, normative values, and ideological attraction, rather than military or economic coercion. In a context where the United States maintains historically complex and often asymmetrical relations with Latin America, Bad Bunny’s stage created a new ground for engagement centered on cultural inclusivity and representation.
The positive response from Latin American audiences increased the symbolic importance of placing Latin heritage at the center of a major U.S. event. Beyond building a sense of regional connection, the performance proved the global reach of American culture. It also highlighted the continued role of pop culture as a tool for soft power and social change.
However, there is a two-way dynamic at play here. On the one hand, the performance showcases the cultural pluralism of the United States, creating an inclusive image; on the other hand, the strong reactions in domestic politics demonstrate that this inclusiveness is limited to within the country. herefore, Bad Bunny’s halftime show serves as a clear example of the contradictions between the U.S. external image and its internal political tensions. By framing “America” as a continental union, the performance brings debates over sovereignty and national borders back to a symbolic stage. When considered alongside the historical hegemony of the United States in Latin America, this approach can be read as a proposal for a more lateral and reciprocal cultural identity.
The widespread international media coverage of the performance reaffirms the vital role popular culture plays in international relations. Through non-state actors, cultural works create meanings that transcend national borders; they help shape public perceptions and emotions in ways that traditional public diplomacy tools cannot. In this light, Bad Bunny should be seen as a transnational cultural actor rather than just an artist.
The 2026 Super Bowl halftime show provided a concrete example of the blurred lines between popular culture and politics. Bad Bunny’s performance brought domestic issues to a global stage, highlighting issues such as the definition of American identity, the representation of immigrant communities, language policies, and multiculturalism. At the same time, the show demonstrated how U.S. soft power is maintained through cultural works and how international perceptions intersect with domestic political dynamics.
Therefore, the performance should be viewed as more than just a musical event; it is a multi-layered phenomenon that warrants analysis in the context of identity politics, cultural diplomacy, and the competition for normative power in the international system. This case clearly demonstrates the growing importance of popular culture within the field of international relations and shows how cultural representation can impact the global political order in the 21st century.
