Thomas F. Anderson
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780813035581
- eISBN:
- 9780813038131
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813035581.003.0001
- Subject:
- Society and Culture, Latin American Studies
Focusing on the representations of carnival and its comparsas (carnival bands and music), this book offers new readings of poems by seminal Cuban poets, examining how their poetic work illustrating ...
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Focusing on the representations of carnival and its comparsas (carnival bands and music), this book offers new readings of poems by seminal Cuban poets, examining how their poetic work illustrating these traditions both contributed to and detracted from the growth of a tangible Afro-Cuban identity. All of these poems relate in some way or the other to the cultural and intellectual phenomenon known as Afrocubanismo. This phenomenon thrived in Havana, initiating in the late 1920s. The book examines, from a literary perspective, the long-running debate between the proponents of Afro-Cuban cultural manifestations and the predominantly white Cuban intelligentsia, who viewed these traditions as “backward” and counter to the interests of the young Republic.Less
Focusing on the representations of carnival and its comparsas (carnival bands and music), this book offers new readings of poems by seminal Cuban poets, examining how their poetic work illustrating these traditions both contributed to and detracted from the growth of a tangible Afro-Cuban identity. All of these poems relate in some way or the other to the cultural and intellectual phenomenon known as Afrocubanismo. This phenomenon thrived in Havana, initiating in the late 1920s. The book examines, from a literary perspective, the long-running debate between the proponents of Afro-Cuban cultural manifestations and the predominantly white Cuban intelligentsia, who viewed these traditions as “backward” and counter to the interests of the young Republic.
E. Carmen Ramos
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781683400905
- eISBN:
- 9781683401193
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9781683400905.003.0003
- Subject:
- Society and Culture, Latin American Studies
Art historian and curator E. Carmen Ramos focuses on the pioneering but problematic work of the nineteenth-century Spanish painter and caricaturist, Víctor Patricio de Landaluze, who spent much of ...
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Art historian and curator E. Carmen Ramos focuses on the pioneering but problematic work of the nineteenth-century Spanish painter and caricaturist, Víctor Patricio de Landaluze, who spent much of his adult life in colonial Cuba. Despite his opposition to Cuba’s independence from Spain, Landaluze was one of the leading practitioners of costumbrismo (genre painting, or the literary and artistic representation of local customs) on the island, portraying human “types” such as Creole landowners, slaves, former slaves, mulatas, and guajiros (peasants). By the end of the nineteenth century, Landaluze had documented many aspects of Afro-Cuban daily life—including religion, music, and dance—all while, according to Ramos’s analysis, perpetuating the racial stereotypes of African savagery that was common in other former slave societies such as Brazil, the United States, and Puerto Rico. A close look at one of Landaluze’s most famous paintings, Corte de caña (Cutting Sugar Cane, 1874), reveals the racial anxieties among the peninsular Spanish, as well as some members of the Creole elite, provoked by the slaves’ emancipation and the war of national liberation in Cuba.Less
Art historian and curator E. Carmen Ramos focuses on the pioneering but problematic work of the nineteenth-century Spanish painter and caricaturist, Víctor Patricio de Landaluze, who spent much of his adult life in colonial Cuba. Despite his opposition to Cuba’s independence from Spain, Landaluze was one of the leading practitioners of costumbrismo (genre painting, or the literary and artistic representation of local customs) on the island, portraying human “types” such as Creole landowners, slaves, former slaves, mulatas, and guajiros (peasants). By the end of the nineteenth century, Landaluze had documented many aspects of Afro-Cuban daily life—including religion, music, and dance—all while, according to Ramos’s analysis, perpetuating the racial stereotypes of African savagery that was common in other former slave societies such as Brazil, the United States, and Puerto Rico. A close look at one of Landaluze’s most famous paintings, Corte de caña (Cutting Sugar Cane, 1874), reveals the racial anxieties among the peninsular Spanish, as well as some members of the Creole elite, provoked by the slaves’ emancipation and the war of national liberation in Cuba.
Michelle A. Gonzalez
- Published in print:
- 2006
- Published Online:
- September 2011
- ISBN:
- 9780813029979
- eISBN:
- 9780813039343
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813029979.003.0001
- Subject:
- Society and Culture, Latin American Studies
This book examines the intersection of Afro-Cuban and Latino/a culture and religiosity through the study of a particular group, the Cuban-American community. It proposes a theological analysis of the ...
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This book examines the intersection of Afro-Cuban and Latino/a culture and religiosity through the study of a particular group, the Cuban-American community. It proposes a theological analysis of the everyday faith of Cuban-Americans, informed by the political, cultural, and economic markers that characterize this community and explains that the underlying thesis of this study is that Afro-Cuban culture saturates Cuban culture. It examines the notion of identity within Afro-Cuban and Latino/a theologies, explores Cuban-American theology and discusses Cuban and Cuban-American identities, both historical and contemporary.Less
This book examines the intersection of Afro-Cuban and Latino/a culture and religiosity through the study of a particular group, the Cuban-American community. It proposes a theological analysis of the everyday faith of Cuban-Americans, informed by the political, cultural, and economic markers that characterize this community and explains that the underlying thesis of this study is that Afro-Cuban culture saturates Cuban culture. It examines the notion of identity within Afro-Cuban and Latino/a theologies, explores Cuban-American theology and discusses Cuban and Cuban-American identities, both historical and contemporary.
Rafael Ocasio
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9780813041643
- eISBN:
- 9780813043913
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813041643.001.0001
- Subject:
- Society and Culture, Latin American Studies
Cuban Costumbrista writers reported the strong presence of African traditions developed by slaves and by freed Blacks as agents of a vigorous popular culture that was highly visible throughout the ...
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Cuban Costumbrista writers reported the strong presence of African traditions developed by slaves and by freed Blacks as agents of a vigorous popular culture that was highly visible throughout the nineteenth century. In their handling of Black themes, Costumbristas addressed four main subjects: (1) the particularities of the sugar-cane plantation, rich in slave cultures (as performed in different formats of acculturation by both African and Creole or Cuban-born slaves); (2) the development of religious systems within rural and urban settings; (3) documentation of Black musical expressions; and (4) the incorporation of certain Black social types as literary characters, as workers of specific trades assigned to slaves or to freed Blacks, or as marginal outcasts living in slum areas of major Cuban cities. Afro-Cuban Costumbrismo intends to examine the special qualities that the nineteenth-century Costumbristas observed as eyewitnesses of the making of a new racial hybridity, known today as “mulattoness.” Although mulattoness was a racial concept handled in various types of documents (for example, in ecclesiastical and civil regulations against mixed marriages), it was in Costumbrista literature that the concept took on literary presence. Although Blacks as depicted by Costumbristas had little literary significance, their presence in these politically infused texts covertly addresses the influence of Black Creole culture on developing Cubanía.Less
Cuban Costumbrista writers reported the strong presence of African traditions developed by slaves and by freed Blacks as agents of a vigorous popular culture that was highly visible throughout the nineteenth century. In their handling of Black themes, Costumbristas addressed four main subjects: (1) the particularities of the sugar-cane plantation, rich in slave cultures (as performed in different formats of acculturation by both African and Creole or Cuban-born slaves); (2) the development of religious systems within rural and urban settings; (3) documentation of Black musical expressions; and (4) the incorporation of certain Black social types as literary characters, as workers of specific trades assigned to slaves or to freed Blacks, or as marginal outcasts living in slum areas of major Cuban cities. Afro-Cuban Costumbrismo intends to examine the special qualities that the nineteenth-century Costumbristas observed as eyewitnesses of the making of a new racial hybridity, known today as “mulattoness.” Although mulattoness was a racial concept handled in various types of documents (for example, in ecclesiastical and civil regulations against mixed marriages), it was in Costumbrista literature that the concept took on literary presence. Although Blacks as depicted by Costumbristas had little literary significance, their presence in these politically infused texts covertly addresses the influence of Black Creole culture on developing Cubanía.
Miguel A. Bretos
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780813038100
- eISBN:
- 9780813041568
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813038100.001.0001
- Subject:
- Society and Culture, Latin American Studies
This book is a history of Matanzas, a Cuban city that has played a key role in the island's economic, social, and cultural development. Located on Cuba's northern shore, halfway between Havana and ...
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This book is a history of Matanzas, a Cuban city that has played a key role in the island's economic, social, and cultural development. Located on Cuba's northern shore, halfway between Havana and Varadero, it is the closest Cuban city to the United States. During the slave-driven, sugar-dominated era that opened around 1800, Matanzas grew from a fortified colonial backwater to a thriving multi-ethnic boomtown. It was Cuba's third-largest city by 1850. At the heyday of its prosperity, Matanzas enjoyed a remarkable cultural florescence evident in urban design, literature, music, and art, and became known as the “Athens of Cuba.” The large number of slaves brought to Matanzas accounts for its many slave revolts during the first half of the nineteenth century. Matanzas remains a preeminent seat of Afro-Cuban culture to this day. This history of Matanzas from the aboriginal Tainos to the coming of revolution is based on solid research. Its author, a native Matanzan, arrived in the United States as part of the Pedro Pan children's exodus in 1961, and returned to his homeland forty-two years later. More than a conventional local history, this is an exploration of Cuban national history from a local perspective.Less
This book is a history of Matanzas, a Cuban city that has played a key role in the island's economic, social, and cultural development. Located on Cuba's northern shore, halfway between Havana and Varadero, it is the closest Cuban city to the United States. During the slave-driven, sugar-dominated era that opened around 1800, Matanzas grew from a fortified colonial backwater to a thriving multi-ethnic boomtown. It was Cuba's third-largest city by 1850. At the heyday of its prosperity, Matanzas enjoyed a remarkable cultural florescence evident in urban design, literature, music, and art, and became known as the “Athens of Cuba.” The large number of slaves brought to Matanzas accounts for its many slave revolts during the first half of the nineteenth century. Matanzas remains a preeminent seat of Afro-Cuban culture to this day. This history of Matanzas from the aboriginal Tainos to the coming of revolution is based on solid research. Its author, a native Matanzan, arrived in the United States as part of the Pedro Pan children's exodus in 1961, and returned to his homeland forty-two years later. More than a conventional local history, this is an exploration of Cuban national history from a local perspective.
