Zeitschriftenartikel: „Arts cubains“

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Murray, Brittany. „Historicity and photography in Salut Les Cubains“. Short Film Studies 12, Nr. 1 (01.05.2022): 47–54. http://dx.doi.org/10.1386/sfs_00066_1.

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Salut Les Cubains, Agnès Varda’s short film released in 1963, deploys black-and-white photographs to capture Cuba at a moment of historical transition. Situating the film within the tradition of political films that use a similar formal device, this article explores how the tension between moving and still images in Salut Les Cubains honours a momentous present and an uncertain future.

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Manzi, Joaquín. „Spectres cubains de Che Guevara“. Cinémas d’Amérique latine, Nr. 24 (01.10.2016): 136–45. http://dx.doi.org/10.4000/cinelatino.3041.

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Guicharnaud-Tollis, Michèle. „Écritures, espaces et imaginaires cubains depuis l’exil“. Caravelle, Nr. 105 (01.12.2015): 93–113. http://dx.doi.org/10.4000/caravelle.1772.

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Sánchez, Romy. „Les libres de couleur cubains « en exil » au milieu du XIXe siècle“. Revue française d’études américaines N°164, Nr. 3 (2020): 85. http://dx.doi.org/10.3917/rfea.164.0085.

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Ferreira Drummond, Caroline Maria. „Revolução Cubana, literatura e homossexualidade: disputas pela memória de Virgilio Piñera em Mariel – Revista de Literatura y Arte (1983-1985)“. Revista Eletrônica da ANPHLAC 20, Nr. 29 (18.01.2021): 283–317. http://dx.doi.org/10.46752/anphlac.29.2020.3913.

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Mariel – Revista de Literatura y Arte foi fundada em 1983, em Miami, por escritores cubanos exilados nos Estados Unidos durante o exílio massivo de Mariel (1980), e circulou até 1985 nos Estados Unidos, América Latina e Europa. O projeto editorial coletivo era oposicionista ao regime revolucionário cubano e declarava-se anticomunista, antitotalitário, defensor da democracia e das liberdades individuais, possuindo pujante caráter de denúncia. Em nosso estudo, analisamos como os intelectuais que colaboraram com a revista debateram a literatura, a homossexualidade e a identidade nacional. Nossa proposta central é compreender como o projeto editorial constituiu uma oposição política ao governo revolucionário cubano durante o exílio nos Estados Unidos, por meio de disputas pelas memórias da Revolução e da intelectualidade cubana. Dessa forma, investigamos a seção Confluencias da revista, que estabelecia um “contra-cânone” combativo da literatura cubana, com foco no escritor Virgilio Piñera.

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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, Nr. 1 (März 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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Schefer, Raquel. „'Affiches cubaines. Révolution et cinéma. 1959-2019'. Uma exposição no Museu de Artes Decorativas de Paris“. Aniki : Revista Portuguesa da Imagem em Movimento 7, Nr. 1 (23.01.2020): 245–54. http://dx.doi.org/10.14591/aniki.v7n1.658.

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Recensão da exposição “Affiches cubaines. Révolution et cinéma. 1959-2019”, comissionada por Amélie Gastaut, inaugurada em outubro de 2019 e em exibição até fevereiro de 2020 no Museu de Artes Decorativas de Paris. A mostra reúne um conjunto de cartazes cubanos revolucionários, recobrindo os sessenta anos da Revolução e do ICAIC.

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Díaz Navarro, Janet, Inés Baró Valle und Sofía Flavia Borrego Alonso. „Evaluación de almidones de arroz cubanos como adhesivo para la restauración de documentos: fuerza de adhesión y flexibilidad“. Ge-conservacion 20 (17.11.2021): 219–27. http://dx.doi.org/10.37558/gec.v20i1.867.

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El uso de adhesivos vegetales en diferentes procesos de conservación es una tradición entre los restauradores de papel de origen oriental y de otros países. Los adhesivos de almidón son derivados de raíces y semillas tales como maíz, papa, yuca, arroz y trigo. Los más utilizados en conservación son los de trigo y arroz. En este trabajo se valora la conveniencia del uso de almidón de arroz procedente de variedades de plantas cubanas para tratamientos de restauración de obras sobre papel. Se evaluó la flexibilidad, fuerza de adhesión y estabilidad en el tiempo en probetas elaboradas de papel tratado con almidón de arroz. Dos muestras de almidón purificado a partir de arroz cubano con porcentajes intermedios de amilosa fueron comparadas con muestras de adhesivos comerciales (almidón de trigo, arroz y metilcelulosa). El uso de almidones de arroz cubanos para la restauración del patrimonio documental permite sustituir la importación de adhesivos que resultan extremadamente caros.

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Schwall, Elizabeth. „Contamination in Cuban Modern Dance Histories“. Dance Research Journal 54, Nr. 3 (Dezember 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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Hernandez González, Osvaldo. „EROTISMO, SÍMBOLOS CULTURALES Y JUSTICIA SOCIAL EN LA OBRA PICTÓRICA DE CARLOS ENRÍQUEZ“. ARTSEDUCA, Nr. 31 (10.12.2021): 117–28. http://dx.doi.org/10.6035/artseduca.5643.

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En este artículo se analiza la obra del artista cubano Carlos Enríquez, subrayando los elementos simbólicos y los aspectos más relevantes de su estilo pictórico y de su concepción del mundo. Lo preclaro y revolucionario de sus ideas artísticas nos permite vincularlas de manera crítica con problemáticas sociales del presente. Los documentos publicados en revistas indexadas sobre los artistas plásticos del llamado “arte de vanguardia” en la pintura cubana, han sido bastante pobres y limitados. En este sentido, explorar el universo de la obra de Carlos Enríquez, haciendo hincapié en los elementos eróticos y simbólicos que habitan en ella, puede contribuir a que los jóvenes cubanos se enriquezcan culturalmente, se empoderen con una visión cítrica de la realidad social en la que se desenvuelven y al mismo tiempo, recobren algo que al parecer se ha ido perdiendo con el hechizo de la globalización: la sensibilidad en la narrativa popular del erotismo y el amor por lo nacional.

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Pertierra, Anna Cristina. „If They Show Prison Break in the United States on a Wednesday, by Thursday It Is Here“. Television & New Media 13, Nr. 5 (02.05.2012): 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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de la Fuente, Jose. „El Surrealismo en la Plastica Cubana Surrealism in Cuban Visual Arts“. International Journal of Humanities, Social Sciences and Education 10, Nr. 2 (2023): 48–59. http://dx.doi.org/10.20431/2349-0381.1002005.

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Zimbalist, Andrew. „Teetering on the Brink: Cuba's Current Economic and Political Crisis“. Journal of Latin American Studies 24, Nr. 2 (Mai 1992): 407–18. http://dx.doi.org/10.1017/s0022216x00023439.

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Cuban scholars are not noted for fashioning consensus, much less unanimity. Yet it is unlikely that a Cubanist could be found who would not agree with the proposition that Cuba in 1992 is in the worst crisis of the revolution. It is perhaps arguable that the material situation on the island in 1969 was as difficult as it is today, but back in 1969 the revolution was young and the Cuban people for the most part were energetic and hopeful. Cuba was then an increasingly accepted and economically integrated member of the large world socialist community.The proximate cause of Cuba's present predicament is not hard to identify. Cuba has a small and heavily trade-dependent economy. In the presence of the US embargo, Cuba came to depend on the former Soviet trade bloc (CMEA) for over four-fifths of its imports. Without access to the US market, with access to other markets restricted and with imports from the former CMEA countries reduced by roughly two-thirds, Cuba's economy and its people are struggling to survive.The government's response to the crisis has been deliberate but inadequate. A number of reforms initiated prior to 1989 are being continued,1 others are being accelerated and some new programmes are being put in place. The new emphasis on foreign investment and tourism, structural reforms in the operation of foreign trade, and the impossibility of central planning in the presence of ubiquitous supply uncertainties have combined to transform the nature of Cuba's economic mechanism. Despite the promise of some extension of private enterprise and the market in the service sector, however, the needed and more concerted introduction of a broader market mechanism has not been forthcoming.

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Martín Brito, Lilia. „Apología de la caoba o la Cómoda cubana“. Res Mobilis 10, Nr. 13-3 (29.06.2021): 25–47. http://dx.doi.org/10.17811/rm.10.13-3.2021.25-47.

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Las cómodas habaneras, clasificadas por la mayoría de los estudiosos como “cómodas de sacristía”, por su perfección y calidad, constituyen testimonio irrefutable de los valores alcanzados por el mueble cubano. Son representativas de los más significativos paradigmas de la cultura material cubana en particular y de la historia del arte cubano en general. El empleo de la caoba cubana en su elaboración, constituye la principal motivación en cuanto a la alta calidad de sus tallas y de su particular belleza. Fueron empleados otros materiales como la plata y el bronce para sus tiradores y bocallaves, así como el cedro en algunos interiores de sus cajones o gavetas. Clasificar estas cómodas a través de las comparaciones establecidas a partir de varios de los ejemplares estudiados y arrojar nuevas luces acerca de su alcance no sólo estético, sino también histórico dentro de la cultura cubana, es el principal objetivo de este trabajo.

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Perez, Lisandro. „Immigrant Economic Adjustment and Family Organization: The Cuban Success Story Reexamined“. International Migration Review 20, Nr. 1 (März 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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Cortiñas, Jorge Ignacio, und Coco Fusco. „Blind Mouth Singing“. TDR/The Drama Review 54, Nr. 3 (September 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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Kopčíková, Terézia. „The Role of Language in the Ethnic Identification of the Cuban Minority in Slovakia“. Anthropos 117, Nr. 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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Enriquez Roche, Melissa Margarita, und Mely del Rosario González Aróstegui. „La imagen femenina en el arte cubano. Un análisis desde la perspectiva de género“. Janeiro-Junho 2020 5, Nr. 2 (13.01.2020): 371–81. http://dx.doi.org/10.37293/sapientiae52.09.

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El tratamiento de la imagen femenina en el arte cubano responde a la evolución histórica de la representación de la mujer en el ámbito internacional. Durante su desarrollo ha estado atada a los cánones establecidos por una cultura patriarcal, de manera particular en el arte naif, que refleja la subjetividad de los autores sin mediar los filtros académicos. En el escenario cubano no existe una abundancia de literatura científica sobre la representación de la imagen femenina en el arte y su relación intrínseca con los contextos sociales de las mujeres, que en Cuba y Latinoamérica están conectados a una cultura históricamente falocéntrica. Se plantea como objetivo del estudio: identificar las características de la imagen femenina en el arte cubano, con énfasis en el arte naif. Para la obtención de resultados se emplean métodos en los niveles teórico y empírico. En el nivel teórico se emplea el método histórico-lógico. En el nivel empírico se utiliza el análisis documental, fundamentalmente los autores María Teresa Alario (2000), Adelaida de Juan (2002, 2006) y Yolanda Wood (2017). El presente artículo aborda el tratamiento de la imagen femenina en el arte cubano desde una perspectiva de género. Se concluye que la representación de la imagen femenina en el arte naif cubano responde a los esquemas de dominación patriarcal normalizados en la sociedad cubana actual.

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Eaton, William W., und Roberta Garrison. „Mental Health in Mariel Cubans and Haitian Boat People“. International Migration Review 26, Nr. 4 (Dezember 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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Tejo Veloso, Carlos. „Arte cubano contra la homofobia: Corpus frágile, una poética de resistencia“. Ars Bilduma, Nr. 6 (18.04.2016): 147–58. http://dx.doi.org/10.1387/ars-bilduma.14682.

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El presente artículo analiza la serie titulada Corpus frágile del artista cubano Eduardo Hernández Santos (La Habana, 1966). Este trabajo nos enfrenta a los fragmentos de un cuerpo alimentado por la compleja problemática que implica el hecho de ser homosexual en Cuba. Así, estas fotografías construyen un hombre que desmonta el arquetipo patriarcal de virilidad y derriba el caduco patrón masculino que la propia Revolución Cubana ha creado a lo largo de estos cincuenta y seis años de trayectoria. Estas y otras maniobras alimentan la carga ideológica de Corpus frágile para construir una personal iconografía de la resistencia.

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GRONBECK-TEDESCO, JOHN A. „The Left in Transition: The Cuban Revolution in US Third World Politics“. Journal of Latin American Studies 40, Nr. 4 (November 2008): 651–73. http://dx.doi.org/10.1017/s0022216x08004707.

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AbstractThis article examines the ways in which Cuba's revolution shaped the changing politics of the Left in the United States. Using critical strategies of transnationalism, it illustrates how a dialogue developed between US activists and Cuban cultural producers, and reveals how Cuba's revolutionary discourse inflected the radical shift towards Third World nationalism. As the post-Bandung global moment brought a network of new political and cultural affiliations, Cuba's state apparatus invested in the manufacture and dissemination of tricontinental politics worldwide. This alternative moral and political imaginary lent authority to Havana's status as leader of the Third World and drew global attention to Cuba's revolutionary model in new thinking on post-colonial identity and culture. This new thinking imbibed the US Left's humanistic turn which challenged standard boundaries of race, class and nation. The dialectical nature of Cuban political discourse and social activism in the United States changed Cuban exigencies while it enticed US dissidents to experience the exception in the western hemisphere that fought for the greater moral good.

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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, Nr. 2 (14.04.2020): 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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Du Bouchet de la Figuera, Juan Carlos. „Galones de librea con escudos de armas de familias cubanas“. Quiroga. Revista de patrimonio iberoamericano, Nr. 20 (30.12.2021): 28–40. http://dx.doi.org/10.30827/quiroga.v0i20.0002.

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Los galones de librea heráldicos de familias coloniales cubanas, en poco tiempo adquirieron la categoría de objetos coleccionables por su alto interés como elementos decorativos, combinado esto con cierta nostalgia evocadora de costumbres y de personajes de tiempos pasados. Constituyen un rango distintivo de la aristocracia azucarera que lideró el desarrollo económico de Cuba en los siglos XVIII y XIX, son un testimonio y una valiosa fuente de información de una etapa de la historia cubana.

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Aguirre, Benigno E., und Rogelio Saenz. „Testing the Effects of Collectively Expected Durations of Migration: The Naturalization of Mexicans and Cubans“. International Migration Review 36, Nr. 1 (März 2002): 103–24. http://dx.doi.org/10.1111/j.1747-7379.2002.tb00073.x.

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This study tests a hypothesis that Mexican foreign-born immigrants who came to the United States for economic reasons naturalize less often than Cubans who immigrate for political reasons. It uses information from the Panel Study of Income Dynamics, Latino Sample, a national sample of 7,453 respondents from the 1989 Latino National Political Survey (LNPS) and the 1990 Panel Study of Income Dynamics (PSID). Ordinal logistic regression is used to examine the hypothesis. The results indicate that while more Mexicans plan to apply or have applied for naturalization, proportionately more Cubans than Mexicans have naturalized. Cuban political immigrants who came to the United States during the first half of the 1960s naturalize more often than their Mexican counterparts. However, the effect of ethnic identity on naturalization is mediated by a number of other predictors of naturalization such as gender, race, urban residence, socioeconomic status and acculturation.

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Ibarra Cáceres, Anaeli. „La relación arte-política en Cuba: Entre el silencio y el susurro. El arte como lugar de acción y repolitización de la vida.“ Arte y Políticas de Identidad 13, Nr. 13 (26.01.2016): 115. http://dx.doi.org/10.6018/250931.

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Este artículo indaga cómo se expresa la relación arte-política en Cuba en el contexto de un cambio de perspectiva en la dirección del país. Se precisa cómo lo político atraviesa el arte, politizándolo y constituyendo nudos esenciales que permiten situar y revalorizar conceptos como gestión ciudadana y activismo artístico. El lapso 2006-2014 marca un periodo muy interesante en la historia cubana. Primero, porque hay una transferencia de poderes. Segundo, porque a partir de esa transición comienzan a manifestarse transformaciones que denotan un punto de giro en el enfoque socialista. El susurro de Tatlin (2014) es una performance de Tania Bruguera que marca este lapso y traza una parábola del socialismo cubano en el siglo XXI, planteando algunas preguntas, desde “¿hacia dónde vamos?”, “¿hay hacia dónde ir?”, “¿cómo llegar?”, sobre todo, cómo llegar después del camino desandado; hasta la constatación de una inminente gravitación hacia el norte.

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Echavarría, Oscar. „Políticas públicas, participación ciudadana y desarrollo local en el ordenamiento jurídico cubano: de la Constitución de 1976 a la de 2019“. Revista Estudios de Políticas Públicas 5, Nr. 2 (30.11.2019): 58. http://dx.doi.org/10.5354/0719-6296.2019.55354.

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El perfeccionamiento del sistema político, social y económico cubano pasa por buscar un modelo más eficiente, capaz de hacer frente a las demandas que se diversifican y amplían en el nuevo milenio, que reconozca el rol protagónico a las escalas locales. El proceso de perfeccionamiento y reacomodo del modelo económico cubano proyecta un marcado carácter descentralizador, en aras de dotar a los municipios y otros espacios locales de mayor autonomía en la gestión de las políticas públicas e incentivar la participación ciudadana. A tales fines, se han introducido cambios, incluso con anterioridad a la aprobación del nuevo texto constitucional. El presente artículo tiene como objetivo analizar desde una perspectiva teórica y normativa la participación ciudadana en las políticas públicas en el contexto cubano actual. El trabajo ha sido dividido en dos partes: en la primera se analiza la participación ciudadana en las políticas públicas en la Constitución de 1976 y en la segunda se examinan las referidas instituciones en los Lineamientos de la Política Económica y Social del Partido y la Revolución, en el Plan Nacional de Desarrollo Económico y Social hasta 2030 y finalmente se analiza la nueva Constitución cubana.

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Fleitas Monnar, María Teresa. „Para salvar la desmemoria: Lucía Victoria Bacardí, precursora de la escultura en Santiago de Cuba.“ Arte, Individuo y Sociedad 34, Nr. 1 (10.01.2022): 209–31. http://dx.doi.org/10.5209/aris.73472.

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El artículo valora la significación de la escultora Lucía Victoria Bacardí Cape dentro del arte cubano. Analiza el repertorio iconográfico de piezas ubicadas en el museo Emilio Bacardí Moreau de Santiago de Cuba. Se aborda su figura como creadora en un contexto cultural que la convierte en una artista excepcional en Cuba. Expone la estatura artística de una creadora prácticamente ignorada por la literatura y por el público. En un primer momento se examinan sus etapas de formación artística, en correspondencia con el contexto socio-histórico y cultural que generó su creación. A continuación se ofrece una valoración del conjunto creativo de la artista mediante el análisis de su valor estético, la identificación de sus principales referentes artísticos y el lugar que ocupa esta mujer dentro del panorama de la escultura cubana. Estudiar su obra es reconocer su personalidad artística y humana transgresora, al dedicarse a un arte que había estado vedado a la mujer y en el que ella sobresalió.

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Spitta, Silvia. „Sandra Ramos Revisited“. Latin American and Latinx Visual Culture 2, Nr. 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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Parley, Charles. „Affiches cubaines: Révolution et cinéma, 1959–2019 (Cuban posters: Revolution and film, 1959–2019)“. West 86th: A Journal of Decorative Arts, Design History, and Material Culture 27, Nr. 2 (01.09.2020): 294–98. http://dx.doi.org/10.1086/715385.

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Bartolomé, Ángel, Sonia Martín Gómez und María Jesús Lago Ávila. „El cartel del ICAIC (Instituto Cubano del Arte e Industria Cinematográficos) como construcción de la imagen de la Revolución Cubana“. Comunicación, propaganda y movimientos revolucionarios en la historia, Especial (15.06.2022): 304–27. http://dx.doi.org/10.24137/raeic.9.e.16.

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El cartel de cine del ICAIC (Instituto Cubano del Arte e Industria Cinematográficos), como medio de comunicación visual, rompió radicalmente con los viejos cánones y se utilizó para construir la imaginería de la Revolución Cubana. Con grandes influencias de las escuelas del cartel polaco, checo, japonés y estadounidense se convirtió en un cartel reconocible por su colorido, forma de impresión y por establecer una gráfica que sirvió no solo para anunciar las películas sino para decorar e impregnar de colorido Cuba. La Revolución cubana impulsó nuevos códigos en la realización y la percepción tanto de carteles de cine, políticos, así como de campañas económicas y de educación. Las necesidades que generó este proceso complejo trajeron consigo el deber de explicar, exhortar, convencer y provocar cambios en todo el país, lo que convirtió al diseño gráfico en una herramienta fundamental para conseguir de manera rápida y sencilla los propósitos de la Revolución. El caso del cartel del ICAIC representa un caso peculiar, significativo y podríamos decir que único en la industria cinematográfica.

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Torres-Maya, Hugo Freddy, Orlando José González-Sáez, Manuel Iván Paredes-Navarrete und 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 (01.10.2023): 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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Hartman, Joseph R. „Silent Witnesses:“. Journal of the Society of Architectural Historians 78, Nr. 3 (01.09.2019): 292–311. http://dx.doi.org/10.1525/jsah.2019.78.3.292.

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In Silent Witnesses: Modernity, Colonialism, and Jean-Claude Nicolas Forestier's Unfinished Plans for Havana, Joseph R. Hartman examines Havana's urbanization under the dictatorship of Gerardo Machado (in power 1925–33), focusing on the largely unrealized plans of French urbanist Forestier and his Franco-Cuban team of architects and planners. Scholars until now have focused on cataloguing the regime's extant monuments, while giving far less attention to Forestier's unbuilt urban works. The Machado regime's building campaign spoke to modern aspirations of Cuban independence and nationhood, but also to enduring colonial paradigms of race, power, and urban space. Interpreting the history of Havana's urbanization requires taking a critical view of Cuba's colonial heritage and the survival into modern times of local and imported colonialist practices. Revisiting this history lends new insights into the cultural stakes of urban restoration efforts ongoing in Havana today.

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Boudreault-Fournier, Alexandrine. „Ateliers hip-hop et double morale à Cuba“. Cahiers de recherche sociologique, Nr. 49 (28.03.2011): 95–121. http://dx.doi.org/10.7202/1001413ar.

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Cet article se penche sur le récent phénomène du reggaetón à l’intérieur de la société cubaine contemporaine et révolutionnaire en offrant une compréhension qui va au-delà d’une représentation de la culture hip-hop en tant que modèle dichotomique de résistance versus subordination. Pourquoi les éducateurs en arts et des promoteurs naturels s’impliquent-ils auprès des jeunes rappeurs et reggaetoneros ? Quels sont les principes de base de leurs enseignements à l’intérieur d’ateliers musicaux offerts par deux Maisons de la culture de Santiago de Cuba ? Ces questions clés nous permettent de constater la présence de forces dominantes, alternatives et émergentes dans le discours des intervenants. Tout en encourageant les jeunes rappeurs et reggaetoneros à développer une forme d’expression authentiquement cubaine, ils rêvent silencieusement que leurs efforts porteront fruits dans l’industrie musicale commerciale. Voilà la double morale exprimée par les intervenants de l’État, une articulation idéologique représentative des dynamiques exprimées par la population cubaine en général.

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Penagos, Elaine. „How We Heal: Genealogical Narratives of Healing among San Lázaro Devotees“. Genealogy 5, Nr. 1 (28.02.2021): 18. http://dx.doi.org/10.3390/genealogy5010018.

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Healing is the basis of belief in San Lázaro, a popular saint among Cubans, Cuban-Americans, and other Latinx peoples. Stories about healing, received through faith in San Lázaro, are typically passed on through family members, rendering them genealogical narratives of healing. In this photo essay, the author draws on her maternal grandmother’s devotion to San Lázaro and explores how other devotees of this saint create genealogical narratives of healing that are passed down from generation to generation. These genealogical narratives of healing function as testaments to the efficaciousness of San Lázaro’s healing abilities and act as familial avenues through which younger generations inherit belief in the saint. Using interview excerpts and ethnographic observations conducted at Rincón de San Lázaro church in Hialeah, Florida, the author locates registers of lo cotidiano, the everyday practices of the mundane required for daily functions and survival, and employs arts-based methods such as photography, narrative inquiry, and thematic poetic coding to show how the stories that believers tell about San Lázaro, and their experiences of healing through faith in the saint, constitute both genealogical narratives of healing and genealogical healing narratives where testimonies become a type of narrative medicine.

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Sardá Lloga, Eduardo Antonio. „El régimen jurídico de las audiencias: Retos en el proceso civil y familiar cubano“. Revista de Derecho, Nr. 24 (12.11.2021): 84–106. http://dx.doi.org/10.22235/rd24.2609.

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La oralidad es uno de los principios cardinales sobre el cual se asienta las tramitaciones en el derecho procesal civil contemporáneo. En Cuba, la norma procesal civil vigente es carente en cuanto a la materialización de este principio, traducido en la celebración de las diferentes audiencias que conforman el proceso, por lo que presenta debilidades regulatorias evidenciables. El objetivo de este estudio es analizar la actual regulación jurídica en materia de audiencia que hace la norma adjetiva cubana. En un primer momento se examina a la audiencia como acto procesal vital en la tramitación judicial, así como sus tipologías, en aras de exponer las principales contradicciones normativas de su regulación en Cuba. Por último, se procede a la proposición de pautas de cómo debería quedar regulada jurídicamente la audiencia en el derecho procesal civil cubano.

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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, Nr. 1 (01.03.2022): 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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Dias Alves de Sousa, Pacelli. „Exílio e polêmicas intelectuais em Mariel Revista de Literatura y Arte (1983 - 1985): notas para um debate“. Revista Eletrônica da ANPHLAC 21, Nr. 30 (19.07.2021): 324–45. http://dx.doi.org/10.46752/anphlac.30.2021.3986.

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Este artigo busca analisar a configuração do discurso de uma revista literária e cultural produzida por exilados e refugiados cubanos: a Mariel Revista de Literatura y Arte, publicada entre 1983 e 1985, entre a Flórida e Nova Iorque. Apesar de sua breve vigência, a revista foi importante pela resposta histórica ao quinqüenio gris, à Crise do Mariel e, especialmente, pela discussão que propôs sobre a literatura daqueles anos e o cânon literário da ilha. O objetivo principal deste texto é estabelecer as relações, arquivos e intertextos que pareceram dar margem à enunciação da revista, tendo em vista as relações com as políticas culturais, tanto de Cuba quanto dos Estados Unidos, campo especialmente prolífico para os estudos de revistas culturais na América Latina. Nesse sentido, parte-se de uma análise da discursivização dos marielitos na cultura pública, a partir da mídia cubana, para então seguir a uma análise do editorial da revista, publicado no primeiro volume, bem como de alguns textos de polêmica com outros intelectuais do período.

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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, Nr. 3 (01.09.2020): 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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Ortiz García, Carmen. „Contrapunteos de Lydia Cabrera“. Arbor 196, Nr. 796 (27.08.2020): 559. http://dx.doi.org/10.3989/arbor.2020.796n2012.

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Todavía hoy en la historia de la antropología cubana se presta poca atención a la escritora y antropóloga Lydia Cabrera, quien solo muy recientemente ha empezado a formar parte de la nómina intelectual de la cultura cubana oficial. Sin embargo, en función de su obra y trayectoria vital puede considerarse a Cabrera como la fundadora moderna de los estudios sobre las religiones afrocubanas. El objeto central de este texto es analizar el trabajo etnográfico de Lydia Cabrera a partir de la idea de que existe un contrapunteo, un diálogo, un juego metafórico, entre la identidad liminar de la propia autora -manifiesta en un sentido racial, cultural, de género, social y político- y su interés y dedicación a la aportación de los esclavos y la población de origen africano a la historia, a la cultura y, en última instancia, a la identidad misma de su patria cubana.

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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, Nr. 1 (28.02.2019): 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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Duany, Jorge. „Caribbean Migration to Puerto Rico: A Comparison of Cubans and Dominicans“. International Migration Review 26, Nr. 1 (März 1992): 46–66. http://dx.doi.org/10.1177/019791839202600103.

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Cuban and Dominican migration to Puerto Rico is a recent example of the intra-Caribbean movements initiated over 200 years ago. This article argues that migration within the Caribbean is as important as migration outside the region. To begin, the historical literature shows that intra-Caribbean migration preceded the movement to North America and Europe. Furthermore, migration within the region has always been heterogeneous in its socioeconomic composition and motivations. The present essay examines the similarities and differences between Cubans and Dominicans in Puerto Rico. Its objectives are to determine the magnitude of the flows, describe the migrants’ residential patterns, analyze their mode of incorporation into the labor market, assess their socioeconomic origins, and evaluate their reasons for migrating. The article concludes that intra-Caribbean migration continues to provide a significant avenue for social mobility within the region.

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Craven, David. „The visual arts since the Cuban revolution“. Third Text 6, Nr. 20 (September 1992): 77–102. http://dx.doi.org/10.1080/09528829208576370.

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Brito Matos Lacerda, Glauber, und Mariana Martins Villaça. „“Estudo, trabalho, fuzil” e rock em Cuba: a música dos Beatles no Noticiero Icaic Latinoamericano (1965-1972)“. ArtCultura 25, Nr. 46 (30.06.2023): 203–23. http://dx.doi.org/10.14393/artc-v25-n46-2023-71196.

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Neste artigo buscamos compreender os significados, do ponto de vista cultural e político, da presença da música dos Beatles no Noticiero Icaic Latinoamericano em um contexto de restrições à difusão do rock em Cuba, ao mesmo tempo em que o protagonismo juvenil florescia e os produtos culturais destinados à juventude se mostravam indispensáveis, ao governo cubano, para o estímulo ao engajamento político e à formação do “homem novo”. Por meio do levantamento e análise da trilha musical de várias edições do período entre 1965 e 1972, marcado pela beatlemania, refletimos sobre o uso das canções, em seus múltiplos formatos e versões, demonstrando os diferentes papéis que a música assume, ao se combinar ao material visual. Em diálogo com a bibliografia sobre o tema, procuramos evidenciar como essa polissêmica trilha musical, ora permeada de ambiguidade, ora de explícito discurso político, permite explorar a potencialidade do Noticiero como fonte histórica da Revolução Cubana, tão marcada por buscas, embates e desafios.

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Pérez Ruiz, Ángel Jesús. „CHEGADA E EXPANASAO DA LÍNGUA PORTUGUESA EM CUBA“. Herança 4, Nr. 2 (30.07.2021): 103–10. http://dx.doi.org/10.52152/heranca.v4i2.366.

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Uma revisão do roteiro da língua portuguesa em Cuba originou esta pesquisa. Avança desde a chegada do almirante Colombo à terra cubana aos fins do século XV, transita pelos primeiros moradores da vila de Havana, entre os quais havia uma importante componente de descendentes de portugueses provindos das Canárias, para continuar a visibilizar outros traços deixados por quem ficaram definitivamente ou a trabalho, e transparenta como a presença deles foi marcando a necessidade do estudo da língua lusitana, materializado já a partir da segunda metade do século XX. O trabalho percorre os principais momentos da presença da língua portuguesa em Cuba, cujo ensino atual agora é impulsionado pelo Instituto Camões de Portugal, como parte do intercâmbio académico e cultural entre os dois povos promovido no sistema educacional e cultural popular cubano.

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Gutiérrez, Mariela A. „Afro-Cuban Lyrics and Thematics in the ‘Canción Cubana’ as Musical Genre“. Hispanic Research Journal 14, Nr. 4 (August 2013): 295–312. http://dx.doi.org/10.1179/1468273713z.00000000050.

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Santo, Diana Espírito. „Plasticidade e pessoalidade no espiritismo crioulo cubano“. Mana 20, Nr. 1 (April 2014): 63–93. http://dx.doi.org/10.1590/s0104-93132014000100003.

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Neste artigo defendo que as formas crioulas do espiritismo cubano propõem uma sofisticada cosmologia do Self, na qual a psique humana e seu universo circundante de espíritos protetores são incorporados em uma só relação de produção mútua. Estas teorizações subvertem leituras lineares de identidades (entidades) espirituais como fragmentos de imaginários nacionais, sugerindo em seu lugar a importância de um cosmos fluido, plástico, onde as formas espirituais dependem de repertórios culturais e pessoais, formas estas que também permanecem parcialmente "outras" para quem as apreende, retendo assim a sua capacidade transformadora. Estes temas são explorados por meio de uma justaposição de discursos antropológicos e indígenas sobre a psicologia das manifestações espirituais, e também através da observação de casos de mais amplo alcance de plasticidade ontológica no espiritismo e na religião afro-cubana.

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Dorta, Walfrido. „Narcos in Jesús María: Dystopian empowerment in the amateur exploitation film Corazón cubano/Cuban Heart (2014)“. Studies in Spanish & Latin-American Cinemas 18, Nr. 2 (01.06.2021): 139–58. http://dx.doi.org/10.1386/slac_00043_1.

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This article analyses the film Corazón cubano/Cuban Heart (Liyuen Valdés 2014), a story about drug traffickers in the Jesús María neighbourhood of Havana, circulated only through the Paquete Semanal (Weekly Package). Examining the creators’ symbolic identification with the figure of the narco, this article explores Corazón as an example of amateur, alternative and informal media within the Paquete and its relationship with exploitation, cult and trash cinema. It argues that Corazón’s appropriation of narconarratives through reparteros (the inhabitants of Havana’s peripheric and poorest neighbourhoods) is linked to the relationship between reparteros, rap and reggaeton and points to the filmmakers’ will to combine social criticism and entertainment. Corazón also reproduces controversial practices and discourses like ‘necroempowerment’ (Valencia) or ‘fascinating violence’ (Valencia and Sepúlveda), developing dystopian empowerment by appropriating the narco as a ‘cultural persona’ (Edberg).

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Rodríguez, Mariney, Luis Ernesto Paz Enrique, Gretel Álvarez Ledesma und Melissa Margarita Enriquez Roche. „Estudio bibliométrico con enfoque de género del teatro bufo cubano“. Acotaciones. Revista de Investigación y Creación Teatral 2 (22.12.2022): 235–68. http://dx.doi.org/10.32621/acotaciones.2022.49.09.

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El Teatro Bufo es un género de estilo mixto, satírico y mu-sical emparentado con la zarzuela, el sainete, la parodia y el apropósito. Se desarrolló en Cuba durante la segunda mitad del siglo XIX y cons-tituyen un capítulo muy personal de la vertiente costumbrista de la cul-tura cubana. En la Universidad Central «Marta Abreu» de Las Villas (Cuba) se encuentra una de las colecciones de libros raros y valiosos más importantes en Cuba: la Colección Coronado. En la misma se encuentra la Colección completa del Teatro Bufo Cubano, integrada por 551 obras. El análisis bibliométrico con enfoque de género permite caracterizar las problemáticas de género en el período en el que se desarrollaron estas obras. El enfoque de género presente en las obras responde a un período histórico concreto donde la sociedad patriarcal fue más influyente, fun-damentalmente en la literatura y el teatro en particula

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Andrade, Alice de. „Une mémoire cubaine du monde“. Cinémas d’Amérique latine, Nr. 17 (01.12.2009): 163–68. http://dx.doi.org/10.4000/cinelatino.1734.

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PETTINÀ, VANNI. „A Preponderance of Politics: The Auténtico Governments and US–Cuban Economic Relations, 1945–1951“. Journal of Latin American Studies 46, Nr. 4 (05.09.2014): 723–53. http://dx.doi.org/10.1017/s0022216x14001114.

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AbstractThis article analyses the bilateral economic negotiations between Washington and Havana during the era of the Cuban PRCA (Auténtico) governments led by Ramón Grau San Martín and Carlos Prío Socarrás (1944–52). This work shows that, initially, the PRCA governments took advantage of the economic bargaining capacity that Cuba had developed with Washington during the Good Neighbor era, but after 1947 this declined as the Truman administration's Cold War foreign policy agenda assigned only a marginal position to Latin America and Cuba. Havana's inability to obtain further economic support from the United States had a powerful destabilising effect, complicating Cuba's economic governance and delegitimising the PRCA politically. The study of this episode enhances our comprehension of a period largely overlooked by the historiography on Cuba and our understanding of the demise of the Auténtico project, the last attempt to transform Cuba's social structures in a progressive and democratic manner.

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Zeitschriftenartikel zum Thema „Arts cubains“

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