This research analyzes the project of the Cuban government to globally consolidate a cosmopolitan influence in the First and Third World, using popular music, particularly protest music, as a tool for disseminating political and social ideas. Through its cultural institution, Casa de las Américas, in 1967, this institution organized El Encuentro de la Canción Protesta, a world meeting in Cuba with musicians from Asia, United States, Latin America, Europe, and Africa. The purpose of this event was to encourage the musicians who attended the meeting to approach the revolutionary potential of popular music. After this international meeting, they set out to create a repertoire, that is, a collection of songs that were shared, acquired, and adapted into various languages while retaining their sounds of folkloric origin. This event consolidated a global market for left-wing music and set up a solidarity network of musicians who defended the role of popular music as a revolutionary weapon.