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Journal articles on the topic 'Cuban Arts'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Pertierra, Anna Cristina. "If They Show Prison Break in the United States on a Wednesday, by Thursday It Is Here." Television & New Media 13, no. 5 (2012): 399–414. http://dx.doi.org/10.1177/1527476412443564.

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This article describes practices of informal digital media circulation emerging in urban Cuba between 2005 and 2010, drawing from interviews and ethnographic research in the city of Santiago de Cuba. The Cuban new media landscape is supported by informal networks that blend financial and social exchanges to circulate goods, media, and currency in ways that are often illegal but are largely tolerated. Presenting two case studies of young, educated Cubans who rely on the circulation of film and television content via external hard drives for most of their media consumption, I suggest that the emphasis of much existing literature on the role of state censorship and control in Cuban new media policy overlook the everyday practices through which Cubans are regularly engaged with Latin and U.S. American popular culture. Further, informal economies have been central to everyday life in Cuba both during the height of the Soviet socialist era and in the period since the collapse of the Soviet Union that has seen a juxtaposition of some market reforms alongside centrally planned policies. In the context of nearly two decades of economic crisis, consumer shortages and a dual economy, Cuban people use both informal and state-sanctioned networks to acquire goods ranging from groceries to furnishings and domestic appliances. Understanding the informal media economy of Cuba within this broader context helps to explain how the consumption of commercial American media is largely uncontroversial within Cuban everyday life despite the fraught politics that often dominates discussions of Cuban media policy.

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García Yero, Cary Aileen. "To Whom It Belongs: The Aftermaths of Afrocubanismo and the Power over Lo Negro in Cuban Arts, 1938–1958." Latin American Research Review 57, no. 1 (2022): 1–18. http://dx.doi.org/10.1017/lar.2022.1.

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AbstractThis article explores the impact of Afrocubanismo on the development of Cuba’s arts during the 1940s and 1950s. The article follows the discursive output of artists, intellectuals, and cultural policymakers of different racial backgrounds over the deployment of lo negro to construct cubanidad. It argues that, if the 1920s and 1930s experienced a movement towards the construction of a homogeneous mestizo Cuba, the following decades reveal an effort by some artists to desyncretize lo cubano. While some intellectuals constructed notions of authenticity that circumscribed black art to black artists, many white Cuban artists in turn embraced elite Hispanic heritage as their main creative language while valorizing some Afro-Cuban artists’ recreations of lo negro. The article also demonstrates that the scholarly debates about cultural appropriation in recent decades have a long history within the Afro-Cuban community. It shows how Afro-Cuban artists and intellectuals pioneered arguments about the exploitative use of lo negro to make national art and the central role of culture in shaping racial inequality.

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Cortiñas, Jorge Ignacio, and Coco Fusco. "Blind Mouth Singing." TDR/The Drama Review 54, no. 3 (2010): 12–53. http://dx.doi.org/10.1162/dram_a_00003.

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Reinaldo Arenas's novels are still unavailable in Cuba, but 20 years after the exiled writer's suicide a Cuban-American playwright, Jorge Ignacio Cortiñas, has written an homage to Arenas that will be produced in Havana, where hyphenated Cubans are rarely acknowledged. This is the full script of Blind Mouth Singing in the original English-language version.

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4

Rudakoff, Judith. "Cuba “AsiSomos” and the Fine Art of Survival." Canadian Theatre Review 78 (March 1994): 59–60. http://dx.doi.org/10.3138/ctr.78.010.

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From September 12-19, 1993, I co-ordinated a Theatre and Fine Arts Delegation which travelled in Cuba. The primary goal of this delegation was to begin to explore the Fine Arts in several regions of the country with particular emphasis on learning how the social, economic, political and religious conditions affect the contemporary creative work in terms of themes, imagery, form and structure and even, at times, venue. This was my second of five trips planned this year, facilitated by the Cuban Ministry of Culture and their Canadian representatives, Canada-Cuba Sports and Culture Festivals. The first trip, last spring, was a whirlwind immersion as we travelled to eight cities in seven days. The September journey was less frenzied and involved less travel within the country: we spent time in Cienfuegos, Trinidad de Cuba and Havana. As well, our interests on this delegation were focused primarily on Theatre (and attendance of the International Festival of Latin-American Theatre in Havana) and, more marginally, on Santería (the widely practised, syncretized Afro-Cuban religion that combines Yoruban spiritual belief and ritual with Catholicism) and its continued influence on the Fine Arts in Cuba.

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Salvat, Ricard, and Joanne Pottlitzer. "José Triana: An Interview by Ricard Salvat." TDR/The Drama Review 51, no. 2 (2007): 94–118. http://dx.doi.org/10.1162/dram.2007.51.2.94.

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6

Roldán Eugenio, David. "The things we do for love: Male Gypsification and heterosexual desire in Una cubana en España/A Cuban Woman in Spain (Bayón Herrera 1951)." Studies in Spanish & Latin-American Cinemas 19, no. 1 (2022): 35–54. http://dx.doi.org/10.1386/slac_00066_1.

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This article explores the intersection among masculinity, racialization and nationhood in Una cubana en España/A Cuban Woman in Spain (Bayón Herrera 1951). I examine the figure of Miguel, a White Spaniard who disguises himself as an Andalusian Gypsy to win the love of the Cuban celebrity Blanquita. Miguel seeks to accentuate ‘Gypsy’ stereotypes to hypermasculinize himself, also contributing to dissolving the very rigid limits of White, western masculinity. Andalusian folkloric behaviour provides Miguel with a hint of Blackness, and his ability to pass as White and non-White functions as a legitimation of ‘the other Spain’. This portrays Spain as a culturally conflicted nation, suggesting an inclination to reconcile not only with the formerly colonized but also with ‘the other’ inside each Spaniard. ‘Gypsification’, in conjunction with the characters’ heterosexual union, prompts manners of cultural coexistence with Cuba, as it reconfigures Spanish national identity within a broader transatlantic context.

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7

Morales, Etienne. "“Un orgullo de Cuba en los cielos del mundo”. Cubana de aviación from Miami to Bagdad (1946–79)." Journal of Transport History 40, no. 1 (2019): 62–81. http://dx.doi.org/10.1177/0022526619832592.

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This article focuses on the transformation of the carrier Cubana de aviación before and after the 1959 Cuban revolution. By observing Cubana's management, labour force, equipment, international passenger and freight traffic, this article aims to outline an international history of this Latin American flag carrier. The touristic air relationships between the American continent and Spain that could be observed in the 1950s were substituted – in the 1960s and 1970s – by a web of political “líneas de la amistad” [Friendship Flights] with Prague, Santiago de Chile, East Berlin, Lima, Luanda, Managua, Tripoli and Bagdad. This three-decade period allows us to interrogate breaks and continuities in the Cuban airline travel sector and to challenge the traditional interpretations of Cuban history. This work is based on diplomatic and corporative archives from Cuba, United States, Canada, Mexico, Spain and France and the aeronautical international press.

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8

Stubbs, Jean. "Cuba Through A New Lens." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 3-4 (2007): 265–70. http://dx.doi.org/10.1163/22134360-90002484.

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[First paragraph]The Origins of the Cuban Revolution Reconsidered. Samuel Farber. Chapel Hill: University of North Carolina Press, 2006. x + 212 pp. (Paper US$ 19.95)Cuba: A New History. Ric hard Gott . New Haven: Yale University Press, 2005. xii + 384 pp. (Paper US$ 17.00)Havana: The Making of Cuban Culture. Antoni Kapcia. Oxford: Berg Publishers, 2005. xx + 236 pp. (Paper US$ 24.95) Richard Gott, Antoni Kapcia, and Samuel Farber each approach Cuba through a new lens. Gott does so by providing a broad-sweep history of Cuba, which is epic in scope, attaches importance to social as much as political and economic history, and blends scholarship with flair. Kapcia homes in on Havana as the locus for Cuban culture, whereby cultural history becomes the trope for exploring not only the city but also Cuban national identity. Farber revisits his own and others’ interpretations of the origins of the Cuban Revolution.

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9

Arencibia Coloma, Yaneidys. "Cultural Thought in the Caribbean? Arts’ Theory in Cuba, And Its Epistemic Status from a Historical Sociology of Scientific Knowledge Perspective." Cultural Arts Research and Development 3, no. 1 (2022): 18–30. http://dx.doi.org/10.55121/card.v3i1.44.

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Although History of Art studies within academia, began in the late thirties of the Twentieth Century, Arts’ Theory in Cuba has been an underdeveloped discipline. For this paper, we use the Sociology of Scientific Knowledge in its historical perspective, as a tool for analyzing Jorge Mañach’s cultural thought. This was one of the most important Cuban intellectuals of his time, who wrote some of the most notorious essays of Cuban Literature. We analyze his cultural essays, and also, the cultural institutions, intellectual initiatives and networks that supported his theoretical ideas. Essentially, the early Cuban 20th century reproduced some of the colonial matrix of power but, surprisingly, the Mañach’s theories featured relative epistemic autonomy and, therefore, decolonial thinking features yet to be studied. Therefore, we place the focus on the social conditions and cultural structures that might have enhanced the Cuban cultural thought in order to show its epistemic status.

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Schwall, Elizabeth. "Contamination in Cuban Modern Dance Histories." Dance Research Journal 54, no. 3 (2022): 26–44. http://dx.doi.org/10.1017/s0149767722000316.

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This article examines how and why Cuban modern dancers and their scholars cite several white US dancers as forebearers in their nationalistic, anti-imperialistic, and anti-racist dance tradition. I use “contamination” to analyze this complicated topic, which threatens to unfairly center US dancers at Cubans’ expense or to romantically caricature Cubans defying US imperialism with a nationalist hybrid. Multidirectional, indeterminate contamination moves us away from narratives about US culture as a homogenizing force or a vanquished one. Contamination also importantly connotes stink, given that it is a product of imperialism and capitalism bringing far-flung people into close encounters. US contamination in Cuban modern dance histories, then, pushes attention to the shadowy reaches of the unseemly and incongruous—stylistic impurity, structural racism, historiographic neglect, revolutionary disaffection, and failure. Seeing the regrettable provides a fuller picture of the past, including the often-overlooked reality of shared damage and destructibility.

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11

Babin, Angela. "Health and Care of Performing Artists in Cuba." Medical Problems of Performing Artists 22, no. 2 (2007): 74–79. http://dx.doi.org/10.21091/mppa.2007.2016.

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IN MARCH 2007, 15 health professionals and artists from the United States travelled to Cuba to learn firsthand about the Cuban healthcare system and also to see the Cuban approach to artists' health and safety. We went as part of a U.S.-licensed charter program with the goal of research exchange. This program offered us a view of the healthcare facilities and presentations with health professionals as well as rehearsals and performances by performing artists and performing arts students. We met the healthcare personnel who care for the artists and learned about techniques they use to mitigate health hazards to these artists. Thus, in our brief glimpse of Cuba, we were graciously hosted, entertained, and informed.

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12

de la Fuente, Jose. "El Surrealismo en la Plastica Cubana Surrealism in Cuban Visual Arts." International Journal of Humanities, Social Sciences and Education 10, no. 2 (2023): 48–59. http://dx.doi.org/10.20431/2349-0381.1002005.

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13

Fehimović, Dunja, and Ruth Goldberg. "Santa y Andrés: A dossier." Studies in Spanish & Latin American Cinemas 17, no. 3 (2020): 377–82. http://dx.doi.org/10.1386/slac_00027_2.

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Carlos Lechuga’s film Santa y Andrés (2016) has enjoyed worldwide acclaim as an intimate, dramatic portrayal of the unlikely friendship that develops in rural Cuba between Andrés, a gay dissident writer, and Santa, the militant citizen who has been sent to surveil him. Declared to be extreme and/or inaccurate in its historical depictions, the film was censored in Cuba and was the subject of intense controversy and public polemics surrounding its release in 2016. Debates about the film’s subject matter and its censorship extend ongoing disagreement over the role of art within the Cuban Revolution, and the changing nature of the Cuban film industry itself. This dossier brings together new scholarship on Santa y Andrés and is linked to an online archive of some of the original essays that have been written about the film by Cuban critics and filmmakers since 2016. The aim of this project is to create a starting point for researchers who wish to investigate Santa y Andrés, evaluating the film both for its contentious initial reception, and in terms of its enduring contribution to the history of Cuban cinema.

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14

Perez, Lisandro. "Immigrant Economic Adjustment and Family Organization: The Cuban Success Story Reexamined." International Migration Review 20, no. 1 (1986): 4–20. http://dx.doi.org/10.1177/019791838602000101.

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The economic adjustment of Cuban-origin persons in the U.S. has been traditionally analyzed at two levels: the individual and the community (enclave). The analysis presented here represents a complementary approach at the household level. Data from the 1980 U.S. Census show that the relatively successful economic adjustment of Cubans is largely a family, rather than individual, phenomenon. The data also permit an identification of the structural features of the Cuban-origin family that facilitate economic adjustment. The results have special implications for the study of the labor-force experience of Cuban women and their role within the enclave economy.

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15

Spitta, Silvia. "Sandra Ramos Revisited." Latin American and Latinx Visual Culture 2, no. 4 (2020): 32–54. http://dx.doi.org/10.1525/lavc.2020.2.4.32.

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Sandra Ramos (b. 1969) is one of the few artists to reflect critically on both sides of the Cuban di-lemma, fully embodying the etymological origins of the word in ancient Greek: di-, meaning twice, and lemma, denoting a form of argument involving a choice between equally unfavorable alternatives. Throughout her works she shines a light on the dilemmas faced by Cubans whether in Cuba or the United States, underlining the bad personal and political choices people face in both countries. During the hard 1990s, while still in Havana, the artist focused on the traumatic one-way journey into exile by thousands, as well as the experience of profound abandonment experienced by those who were left behind on the island. Today she lives in Miami and operates a studio there as well as one in Havana. Her initial disorientation in the USA has morphed into an acerbic representation and critique of the current administration and a deep concern with the environmental collapse we face. A buffoonlike Trumpito has joined el Bobo de Abela and Liborio in her gallery of comic characters derived from the rich Cuban graphic arts tradition where she was formed. While Cuba is now represented as a rotten cake with menacing flies hovering over it ready to pounce, a bombastic Trumpito marches across the world stage, trampling everything underfoot, a dollar sign for a face.

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16

Torres-Maya, Hugo Freddy, Orlando José González-Sáez, Manuel Iván Paredes-Navarrete, and Lietter Suárez-Vivas. "The didactic treatment of Carlos Enriquez's work in art education and his aesthetic vision." Revista Metropolitana de Ciencias Aplicadas 6, Suplemento 2 (2023): 185–98. http://dx.doi.org/10.62452/8yebgk91.

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The article addresses some of the characteristics linked to the significance of "what is Cuban" in the visual arts, as part of the aesthetic problems and the existence of a Cuban art that has been a subject widely discussed. From these keys we recognize the figure of Carlos Enríquez to characterize his personality and work from a vision of his criollismo as part of the Cuban nationality and identity, and the dynamics of some of these elements to be taken into account in a didactics by arts professionals in defense of cultural identity.

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17

Mabry, Wolfgang. "Cuban Art." Sculpture Review 64, no. 3 (2015): 20–31. http://dx.doi.org/10.1177/074752841506400304.

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18

Simal, Monica. "“Envejecer en Cuba”: reflexiones desde la literatura, las artes visuales y la sociología." Middle Atlantic Review of Latin American Studies 7, no. 2 (2023): 98–126. http://dx.doi.org/10.23870/marlas.439.

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This research paper explores the portrayal of aging in Cuba through artistic and literary projects driven by social science, operating outside of Cuban official channels. The focus lies on the efforts of the “Cuido60: Observatory of Aging, Care, and Rights,” an initiative led by Cuban sociologist Elaine Acosta. Within this initiative, Acosta has organized literary and photography contests. The primary objective of this study is to analyze how these artistic endeavors capture the vulnerabilities and challenges faced by the elderly in Cuba, offering insights into the socio-economic decline and the disillusionment of a once-utopian aspiration. The themes of the body, aging, vulnerability, and illness are intricately woven into a comprehensive framework intertwined with migratory processes, neglect, and abandonment. In this contextual structure, family dynamics and adversities traverse the domains of politics and society. My aim is to underscore the extent to which these artistic projects facilitate discourse that extends beyond the confines of Cuban officialdom. This extension serves as a call for a set of policies that advocate for dignified aging in Cuba. Furthermore, can this intermedial language provide an alternative narrative regarding Alzheimer’s, memory loss, and vulnerability? Can it go beyond merely presenting these corporeal experiences and delve into their deeper implications? Guided by the works of philosophers such as Jean Améry, Simone de Beauvoir, Rita Levi-Montalcini, and Victoria Camps, this research seeks to unveil the multifaceted implications of these artistic expressions for the conversation surrounding aging in Cuba, its representation, and its broader societal significance.

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Craven, David. "The visual arts since the Cuban revolution." Third Text 6, no. 20 (1992): 77–102. http://dx.doi.org/10.1080/09528829208576370.

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20

Weiss, Judith A. "Traditional Popular Culture and the Cuban ‘New Theatre’: Teatro Escambray and the Cabildo de Santiago." Theatre Research International 14, no. 2 (1989): 142–52. http://dx.doi.org/10.1017/s0307883300006118.

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The community-based popular theatre movement began in Cuba about ten years after the triumph of the revolution, but its main pioneers, the founders of the Cabildo de Santiago and Teatro Escambray, were professionals with considerable experience in virtually every style and experimental form of theatre. This article concentrates on the most dynamic period of the Cuban ‘nuevo teatro’, the 1970s, when the Cabildo and Teatro Escambray emerged as internationally recognized models of popular theatre and as valuable sources for research into Cuban cultural tradition and revolutionary transformation.

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21

Taylor, Moe. "A New Kind of Vanguard: Cuban−North Korean Discourse on Revolutionary Strategy for the Global South in the 1960s." Journal of Latin American Studies 53, no. 4 (2021): 667–90. http://dx.doi.org/10.1017/s0022216x21000754.

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AbstractDuring the 1960s, the Cuban government attempted to play a leadership role within the Latin American Left. In the process Cuban leaders departed from Marxist−Leninist orthodoxy, garnering harsh criticism from their Soviet and Chinese allies. Yet Cuba found a steadfast supporter of its controversial positions in North Korea. This support can in large part be explained by the parallels between Cuban and North Korean ideas about revolution in the developing nations of the Global South. Most significantly, both parties embraced a radical reconceptualisation of the role of the Marxist−Leninist vanguard party. This new doctrine appealed primarily to younger Latin American militants frustrated with the established leftist parties and party politics in general. The Cuban/North Korean theory of the party had a tangible influence in Colombia, Peru, Brazil, Puerto Rico, El Salvador, Mexico, Bolivia and Nicaragua, as revolutionary groups in these societies took up arms in the 1960s and 1970s.

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Clealand, Danielle Pilar. "Deciding on the Future: Race, Emigration and the New Economy in Cuba." Journal of Latin American Studies 52, no. 2 (2020): 399–422. http://dx.doi.org/10.1017/s0022216x20000309.

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AbstractCuban emigration in the post-Soviet period has largely been attributed to economic motivations, but without significant racial analysis. Moreover, little is known about how black Cubans on the island think about emigration. It is therefore imperative to re-examine how blacks, once cited as the Cuban Revolution's loyalists, make decisions today about remaining in Cuba and/or pursuing economic security outside of its borders. Using original survey data of black Cubans on the island, I find that economic motivations are prominent among black Cubans, but that these motivations can be multifaceted. In a study of black Cubans and emigration, the issue of increasing racial inequality and racial exclusion has significant influence on economic opportunity, which in turn influences the desire to leave Cuba to achieve economic and professional success. The results have implications for the ways in which we analyse migration throughout the Latin American region, where race has not been factored into why people migrate.

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Kopčíková, Terézia. "The Role of Language in the Ethnic Identification of the Cuban Minority in Slovakia." Anthropos 117, no. 2 (2022): 467–72. http://dx.doi.org/10.5771/0257-9774-2022-2-467.

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There are many different views on what role language plays in ethnic identification. This article is focused on the given issue based on the sample of the Cuban minority living in Slovakia. The topic is analyzed on a sample of Cubans living in the territory of Slovakia in a time frame ranging from 1 to 37 years as well as their descendants who come from mixed Slovak-Cuban families. In this article I am dealing with the impact of the Spanish, Slovak, Hungarian, and English language.

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24

GARCÍA, GUADALUPE. "Urban Guajiros: Colonial Reconcentración, Rural Displacement and Criminalisation in Western Cuba, 1895–1902." Journal of Latin American Studies 43, no. 2 (2011): 209–35. http://dx.doi.org/10.1017/s0022216x11000010.

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AbstractThis essay examines the Spanish reconcentración of Cuban peasants during the final war of independence. It argues that the forced relocation of the rural population produced negative associations between Cuban guajiros and blackness, criminality and disease that furthered the political interests of the Cuban, Spanish and US militaries. The essay also highlights how the US military occupation that followed independence reinforced the criminalisation of the guajiro and organised existing urban and rural divisions in Cuba.

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Weiss, Rachel. "“None of the Art Stuff Makes Sense Anymore”: An Interview with Luis Camnitzer." ARTMargins 10, no. 2 (2021): 7–28. http://dx.doi.org/10.1162/artm_a_00290.

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Abstract Weiss and Camnitzer discuss his ideas about the transformative potential of art in education; his experiences in and thoughts about Cuba and Cuban art; his “Uruguayan Torture” series of prints, and his thoughts about productive anarchy.

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26

Almer, Marisabel. ":Cuba Represent! Cuban Arts, State Power, and the Making of New Revolutionary Cultures." Journal of Latin American and Caribbean Anthropology 12, no. 2 (2007): 503–5. http://dx.doi.org/10.1525/jlat.2007.12.2.503.

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27

Culton, Kenneth R. "Cuba Represent! Cuban Arts, State Power, and the Making of New Revolutionary Cultures." Contemporary Sociology: A Journal of Reviews 37, no. 6 (2008): 563–64. http://dx.doi.org/10.1177/009430610803700624.

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Landi, Ann. "Three Cuban Sculptors." Sculpture Review 64, no. 3 (2015): 14–19. http://dx.doi.org/10.1177/074752841506400303.

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29

Eaton, William W., and Roberta Garrison. "Mental Health in Mariel Cubans and Haitian Boat People." International Migration Review 26, no. 4 (1992): 1395–415. http://dx.doi.org/10.1177/019791839202600414.

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This article presents prevalence data on four specific mental disorders in samples of 452 Cuban immigrants who arrived during the Mariel crisis and 500 Haitians who arrived at about the same time. The disorders are: Major Depressive Disorder, Anxiety Disorder, Alcohol Disorder, and Psychosis. Cubans had higher rates of disorder than Haitians at all levels of education and income, but only in the Cuban sample was the standard inverse relationship between socioeconomic status and rate of mental disorder observed. These and other results presented suggest no single theory can explain the relationship of immigration to the range of specific mental disorders.

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BAIN, MERVYN J. "Cuba–Soviet Relations in the Gorbachev Era." Journal of Latin American Studies 37, no. 4 (2005): 769–91. http://dx.doi.org/10.1017/s0022216x05009867.

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Cuba–Soviet relations are examined in the period that Mikhail Gorbachev was leader of the Soviet Union, focusing on the Cuban perception of the effects of the Soviet reforms on the relationship, in the light of the campaign of rectification of errors. It is concluded that the Cuban leadership kept a surprisingly united front in this period; the year 1989 and repercussions of the August 1991 coup were vital; but the Cuban reaction was not more critical due to diplomatic constraints and the hope that a semblance of the relationship could continue, despite the situation within the Soviet Union.

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Morawski, Erica N. "Negotiating the Hotel Nacional de Cuba:." Journal of the Society of Architectural Historians 78, no. 1 (2019): 90–108. http://dx.doi.org/10.1525/jsah.2019.78.1.90.

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In Negotiating the Hotel Nacional de Cuba: Politics, Profits, and Protest, Erica N. Morawski positions that Havana hotel (McKim, Mead & White, 1930) as a significant symbol and space in the negotiation of national identities under the government of Cuban president Gerardo Machado y Morales. Through analysis of archival materials and architectural design, she shows how the project embodied complex negotiations between the machadato, dedicated to creating the hotel as a national monument, and the U.S. conglomerate charged with financing and building it. Looking beyond the hotel's construction to its role in the Revolution of 1933, Morawski demonstrates how the machadato's efforts to define national identity through the hotel positioned it as a key focus of activists who wanted to define Cuban national identity on their own terms, and who engaged not in negotiation but in armed resistance.

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Hernández González, Manuel. "[ES] REFORMISMO BORBÓNICO Y CONTESTACIÓN SOCIAL: LA ERECCIÓN DEL MONOPOLIO DE TABACO EN LA HABANA (1717-1723) // BOURBON REFORMISM AND SOCIAL OPPOSITION: THE ESTABLISHMENT OF TOBACO MONOPOLY IN HAVANA." Librosdelacorte.es, no. 4 (November 15, 2016): 28–49. http://dx.doi.org/10.15366/ldc2016.8.m4.002.

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Este artículo estudia la respuesta del conjunto de la sociedad cubana y especialmente del campesinado tabaquero frente al monopolio de la comercialización del tabaco desarrollado por el reformismo borbónico. Aborda tres rebeliones populares en La Habana entre 1717 y 1723 con resultado dispar desde la expulsión del gobernador en la primera a la cruenta represión de la tercera. Una represión que culminó con un pacto entre las elites y la Monarquía en prejuicio de los pequeños cultivadores.PALABRAS CLAVE: Historia de Cuba, Historia del Caribe, rebeliones campesinas, reformismo borbónico, tabaco, migraciones, cambio social. --This article studies the response of the entire Cuban society and especially the peasantry against the tobacco monopoly marketing snuff developed by Bourbon reformism. It addresses three popular rebellions in Havana between 1717 and 1723 with mixed results from the expulsion of the first governor in the bloody repression of the third. A rebellion that culminated in a pact between the elites and the monarchy to the detriment of small farmers. KEY WORDS: History of Cuba, Caribbean history, peasant rebellions, bourbon reformism, Snuff, migration, social change.

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Zarza, Zaira. "‘I want to watch movies’: Film activism and Cuban screens." Studies in Spanish & Latin American Cinemas 17, no. 3 (2020): 383–95. http://dx.doi.org/10.1386/slac_00028_1.

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The notion of independent cinema has generated conversations and controversies around the world as scholars have attempted to demarcate what kinds of productions fit – or do not – into the category. In the absence of major private film companies, independent cinema in Cuba includes those films made without or with minimal support from the state-run Cuban Film Institute (ICAIC). Since its foundation in 1959, ICAIC has been the main and only programmer of all films screened in theatres across the country. This article offers a brief account of the relationship between Cuban independent cinema and mainstream institutions in the last few years. As a starting point, I will consider the decision to exclude the film Santa y Andrés/Santa & Andres (Lechuga 2016) from the programme of the 38th Havana Film Festival and the debates that ensued. I will also discuss the recent cultural policies – a decree that recognizes the legal rights of independent film and audio-visual producers and the introduction of 3G data plans for citizens – that hope to spawn new forms of filmmaking in Cuba and the role of social media as a collective platform for cultural conversations in the public sphere.

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Peña, Lauren. "Revolutionary ruralities: Spaces of surveillance and exclusion in Carlos Lechuga’s Santa y Andrés (2016)." Studies in Spanish & Latin American Cinemas 17, no. 3 (2020): 427–42. http://dx.doi.org/10.1386/slac_00031_1.

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The abundance of rural and provincial settings as spaces belonging to or determined by revolutionary time are recurrent elements in Cuban cinema prior to 1989. Many documentaries and films from the late 1960–80s focused on ‘scaping’revolutionary accomplishments and struggles in the construction of a socialist society. At that time, the depiction of provincial and rural towns of Cuba were aligned with and echoed the Revolution’s political and social agenda of collective work, struggle and revolutionary virtue. This article explores rural space, surveillance and exclusions through Carlos Lechuga’s film Santa y Andrés (2016). The film portrays the punishment and surveillance of a blacklisted homosexual writer in a small town in the eastern part of the island during 1983. This article, first, examines how Santa y Andrés questions the premise that Cuba’s rural and provincial space is a homogeneous revolutionary one, and, second, proposes that the film’s choice of location refashions the rural-provincial space in Cuban cinema as a space of dissidence, exclusionary practices and pervasive surveillance.

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Baer, William. "The Cuban Girl." Hudson Review 48, no. 1 (1995): 96. http://dx.doi.org/10.2307/3852062.

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Meer, Laurie Frederik. "Playback Theatre in Cuba: The Politics of Improvisation and Free Expression." TDR/The Drama Review 51, no. 4 (2007): 106–20. http://dx.doi.org/10.1162/dram.2007.51.4.106.

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To perform Playback Theatre effectively, practitioners learn the language of their hosts, live in the same dwellings, eat the same food, and take part in daily activities. Most importantly, Playbackers listen to stories and play these back. Meer's anthropological research in Cuba has been to locate an essential Cuban "we." She finds that her work and Playback are similar in motivation and mission, a teatro comunitario.

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Mabry, Wolfgang. "Sin Embargo: Contemporary Cuban Sculpture." Sculpture Review 64, no. 3 (2015): 32–39. http://dx.doi.org/10.1177/074752841506400305.

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Burton, Julianne. ": The Cuban Image . Michael Chanan." Film Quarterly 39, no. 4 (1986): 37–39. http://dx.doi.org/10.1525/fq.1986.39.4.04a00140.

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Cunha, Olívia M. G. "Travel, Ethnography, and Nation in the Writings of Rómulo Lachatañéré and Arthur Ramos." New West Indian Guide / Nieuwe West-Indische Gids 81, no. 3-4 (2007): 219–57. http://dx.doi.org/10.1163/22134360-90002482.

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Analyses how the traveling to and residence in the US of Arthur Ramos from Brazil and Rómulo Lachtañéré from Cuba, between 1939 and 1952, influenced their (anthropological) writings on Afro-American cultures and religions, specifically with regard to the relation between nation and race. Author describes that while Ramos and Lachatañéré went to the US under differing conditions, in the case of Lachatañéré in exile, and had dissimilar intellectual and political perspectives, their writings during and after their stay revealed identical approaches to interpreting the relation between nation and race in respectively Brazil and Cuba. She describes how Ramos and Lachatañéré developed a broader perspective on Afro-American culture, whilst moving in the same intellectual, anthropological circles, including contacts with Melville Herskovits and Fernando Ortiz, in the US. Author relates how both compared between African-Americans, in Louisiana in the case of Ramos and in New York in the case of Lachatañéré, and Afro-Brazilians and Afro-Cubans (including Caribbean migrants in the US), and thus between different race relations in the US, Brazilian, and Cuban contexts.

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Amich, Candice. "When Doves Cry." TDR: The Drama Review 66, no. 2 (2022): 27–44. http://dx.doi.org/10.1017/s1054204322000089.

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Through bold political performance acts, Cuban artist Tania Bruguera accesses an untimely variant of utopia whose surplus exceeds Cold War binaries of revolution and exile. Bruguera’s democratic action works build collective self-esteem and challenge the official utopianism of the communist state. In free-speech performances that confront the Cuban state’s censorship apparatus, Bruguera models for her fellow Cuban citizens an inimitable practice of democratic dissensus.

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Current, Cheris Brewer. "Normalizing Cuban refugees." Ethnicities 8, no. 1 (2008): 42–66. http://dx.doi.org/10.1177/1468796807087019.

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Daniel, Yvonne Payne. "Changing Values in Cuban Rumba, A Lower Class Black Dance Appropriated by the Cuban Revolution." Dance Research Journal 23, no. 2 (1991): 1. http://dx.doi.org/10.2307/1478752.

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TUCKER, JOSHUA. "Cuba represent! Cuban arts, state power, and the making of new revolutionary cultures by Fernandes, Sujatha." Social Anthropology 17, no. 1 (2009): 126–27. http://dx.doi.org/10.1111/j.1469-8676.2008.00052_8.x.

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Juan-Navarro, Santiago. "From Utopia to Dystopia: The Demise of the Revolutionary Dream in Futuristic Cuban Cinema." Humanities 11, no. 1 (2021): 1. http://dx.doi.org/10.3390/h11010001.

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The armed insurrection that brought Fidel Castro to power in 1959 was one of the most influential events of the 20th century. Like the Russian and Mexican revolutions before it, the Cuban revolution set out to bring social justice and prosperity to a country that had suffered the evils of corrupt regimes. A small country thus became the center of world debates about equality, culture, and class struggle, attracting the attention of political leaders not only from Latin America but also from Africa, Asia, and Europe. Its intent to forge a model society has often been described in utopian terms. Writers, artists, and filmmakers turned to utopia as a metaphor to trace the evolution of the arts in the island from the enthusiasm and optimism of the first moments to the dystopian hopelessness and despair of the last decades. Indeed, the Cuban revolution, like so many other social revolutions of the 20th century, became the victim of a whole series of internal and external forces that ended up turning the promised dream into a nightmare tainted by autocratic leadership, repression, and political and economic isolation. Although Cuban literature has extensively addressed these issues since the collapse of the Soviet Union in 1991, it is only recently that we can find similar trends in a cinematic output that portrays Cuba as a utopia gone sour. This article examines recent films such as Alejandro Brugués’ Juan de los Muertos (2011), Tomás Piard’s Los desastres de la Guerra (2012), Eduardo del Llano’s Omega 3 (2014), Rafael Ramírez’s Diario de la niebla (2016), Yimit Ramírez’s Gloria eterna (2017), Alejandro Alonso’s El Proyecto (2017), and Miguel Coyula’s Corazón Azul (2021). These films use futuristic imageries to offer a poignant (and often apocalyptic) depiction of the harsh paradoxes of contemporary life in Cuba while reflecting upon the downfall of utopia.

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Gutiérrez, Mariela A. "Afro-Cuban Lyrics and Thematics in the ‘Canción Cubana’ as Musical Genre." Hispanic Research Journal 14, no. 4 (2013): 295–312. http://dx.doi.org/10.1179/1468273713z.00000000050.

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Eckstein, Susan, and Lorena Barberia. "Grounding Immigrant Generations in History: Cuban Americans and Their Transnational Ties." International Migration Review 36, no. 3 (2002): 799–837. http://dx.doi.org/10.1111/j.1747-7379.2002.tb00105.x.

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The two paradigms for analyzing immigrant experiences, “assimilationist” and “transnationalist,” leave unanalyzed important differences in immigrant adaptation rooted in different historical generational experiences. This article analyzes the importance of a historically grounded generational frame of analysis. It captures differences in views and involvements between two cohorts of first generation émigrés. Empirically, the study focuses on different Cuban-American cohort crossborder ties. The first cohort, comprised of émigrés who left between 1959 and 1979 primarily for political reasons, publicly oppose travel to Cuba because they believe it helps sustain a regime they wish to bring to heel. The second cohort, who emigrated largely for economic reasons, is enmeshed in transnational ties that, paradoxically, are unwittingly doing more to transform Cuba than first wave isolationism. The cohort comparison is based on interviews with émigrés in Union City, New Jersey and Miami, Florida. The analysis of effects of transnational ties rests on interviews in Cuba as well.

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Rivero, Yeidy M. "Broadcasting Modernity: Cuban Television, 1950-1953." Cinema Journal 46, no. 3 (2007): 3–25. http://dx.doi.org/10.1353/cj.2007.0028.

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Aufderheide, Patricia. "Cuban Documentary Retrospective at DocLisboa 2016." Film Quarterly 70, no. 3 (2017): 80–83. http://dx.doi.org/10.1525/fq.2017.70.3.80.

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Zimbalist, Andrew. "Incentives and Planning in Cuba." Latin American Research Review 24, no. 1 (1989): 65–93. http://dx.doi.org/10.1017/s0023879100022676.

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During 1986 and 1987, Cuba found itself once again debating the relative merits of material and moral incentives. Analysts outside Cuba have rushed to their word processors to pronounce judgment on the Cuban economy's alleged uncertain footing. Some writers have erroneously declared that Cuba has abolished its post-1973 system of tying pay to productivity, and some have interpreted changes in the Cuban economic system as marking the failure and demise of the Sistema de Dirección y Planificación de la Economía (SDPE), Cuba's system of economic management and planning since 1976. This essay will endeavor not to uncover the errant interpretations of Western observers but to explore the underlying problematic and dynamic that Cuba confronts in attempting to balance moral and material incentives within the framework of central planning.

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Stites Mor, Jessica. "Rendering Armed Struggle: OSPAAAL, Cuban Poster Art, and South-South Solidarity at the United Nations." Anuario de Historia de América Latina 56 (December 6, 2019): 42–65. http://dx.doi.org/10.15460/jbla.56.132.

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This article considers the role of the Organization of Solidarity with the Peoples of Africa, Asia, and Latin America (OSPAAAL) in championing a Latin American, tricontinentalist vision of Third World solidarity between these regions. It argues that Cuba used visual and media arts to frame and reframe historical evets, utilizing OSPAAAL as a conduit of pro-Cuba revolutionary ideas, as it circulated updates on national liberation struggles and calls to action for internationalist solidarity. OSPAAAL produced visual art in solidarity campaigns that allowed Cuba to promote a particular interpretation of the Cold War as ongoing colonialism to generate transnational support for national liberation struggles in the Middle East and Africa, as well as to promote the Cuban revolution itself. In particular, it examines the way that the visual approach used by the artists working with OSPAAAL intersected with other modes of transnational solidarity activism to promote revolutionary ideals and commonalities between distant participants and specifically in order to influence international cooperation at the United Nations and in advancing Castro’s profile within the Non-Aligned Movement.

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