Browsing by Subject "Cuba"

This dissertation deals with Cuban art criticism and other written texts related to Abstract Art. From a critical perspective that relates art to society and political and institutional practices, all of the above texts are interpreted as bearers of aesthetic ideologies, which are expressed in the paradigms from which Art Criticism attempted to validate Abstraction. This study further demonstrates that the dominant discourses in the realm of Art Criticism are strongly related to Ideological State Apparatuses. Art Criticism not only mediates between the artwork and the spectator, but also between artistic acts of provocation and the establishment.

Abstraction in Cuba constituted an important axis in the polemic between autonomous art and socially committed art, but the debates themselves were subsumed in ideological and even political battlefields. Art Criticism oriented these debates, by emphasizing certain problems, and diminishing the importance of other ones.

This dissertation is organized in function of the dominant questions that Cuban Art Criticism addressed. The first chapter accordingly deals with definitions of abstract art that were prevalent in art writing and publications from 1948 to 1957, a period in which Art Criticism is mostly concerned with the autonomy of art. The second chapter follows the debates about the social commitment of abstract art, which became predominant during the first years of a Marxist-oriented Revolution. This polemic is implicit in the emergence of an Anti-Academic movement in the visual arts, and it began to lose its strength once the Cuban Avant-Garde started to gain institutional recognition. After being relegated to a peripheral position, the question concerning the social commitment of Abstract Art became crucial after the triumph of the Revolution. The final chapter deals with the relations between Abstract Art and the diverse documents that embodied and defined the Cultural Policy during the Cuban Revolution.

Throughout, this study strives to establish the place of Abstract Art in the Institutional, and discursive practices from 1959 onwards. This place is defined by its instability, as it is constituted through intermittencies and steps backwards on the path towards the institutional consecration of non-figurative tendencies.

This thesis examines how the recent discovery of massive oil reserves off the coast of Cuba has driven a resurgence of Cuban-Russian relations in the 21st century. The first chapter demonstrates how the Russian government came to conceptualize the export of hydrocarbons as integral to the nation's development. It also examines the internal situation in Cuba after the fall of the Soviet Union to explain what initiated shifts in domestic policy that allowed for greater external investment. The second chapter discusses the effect of the discovery of these oil reserves, and how the Russians and the Cubans have come together over this issue against the backdrop of larger anti-American tendencies in Latin America. The first chapter relies more on secondary analyses of trends in both nations to help familiarize the reader with key concepts, such as the idea of Russia's energy weapon and Cuba's impetus for change. The second chapter heavily uses newspaper articles and speeches to demonstrate the visible shift in Russian attitude towards Cuba.

This thesis shows that the oil reserves have stimulated both countries to work closely together, though each has their respective reasons.

This dissertation examines the colonial history of medical rights in Latin America through a study of the world’s first vaccine. The Spanish introduced the smallpox vaccine to their empire in 1804, along with royal orders that vaccination be voluntary and medical consent a natural right ceded to parents. Yet, the vaccine first arrived there incubated in the bodies of two enslaved girls. Doctors would continue to rely on enslaved, indigenous, and other dispossessed bodies to conserve the vaccine for those otherwise accorded this ostensibly universal right. Their doing so prompted profound questions about individual liberty, embedding vaccination into struggles over the abolition of slavery, parental rights, and the preservation of colonial rule. By analyzing the politicization of preventative health, the dissertation follows the vaccine through the Spanish Caribbean and Mexico to ask why imperial—and later, national—authorities protected voluntary vaccination, what this choice meant for parents and patients, and what this story can tell us about the meaning and value of consent in an era of both race and rights-making.

To understand how consent operated, I trace the vaccine through the bodies that sustained it, examining the gendered and racialized claims to medical authority that legitimized the vaccine, the state’s patriarchal formulation of consent to it, and the responses and rejections of colonized subjects to both. Medical texts, newspapers, legal codes, orphanage records, plantation guides, and government reports related to the vaccine reveal that recognition of medical rights was inconsistent and often determined by elite assumptions about reason and bodily difference. Racial and sexual politics informed decisions about which bodies were best suited to incubate and test the vaccine, whose knowledge was deemed a threat to public health campaigns, and ultimately, who should be recognized as a parent, worthy of rights and capable of informed consent.

Amidst political and social unrest, I argue that these articulations worked to uphold colonial structures of power, as healthcare became woven into the fractional freedoms accorded to and claimed by subjects and citizens. Medical consent, as it was envisioned and employed in vaccination policies, helped to reinforce these hierarchies even after independence. Mexico retained voluntary vaccination, but the medical rights of women and men, particularly those of indigenous and African descent, remained restricted by assumptions about culture and competence. By tracing the vaccine through the postcolonial era, my project addresses the enduring effects of colonialism across political discourses of liberalism and access to resources and care. Such historicization suggests the limits of consent and prompts a more ethical conceptualization of "informed refusal" that embraces and respects indigenous and other cultural articulations of bodily autonomy.

My research lies at the intersections of youth and their imaginaries in late socialist Cuba. Through ethnographic and historical research, I explore how Cuban teenagers and young adults make sense of their place in a changing world. My dissertation asks, what does the experience of young baseball players tells us about the way that socialism works and how it is experienced in Cuba today? I argue that baseball in Cuba reflects the distinctive trajectory of this island nation that remains one of the world’s last socialist states. I detail how the amateur athlete can be seen as an on-going experiment in the state’s attempt to create new subjectivities, which are channeled through an equally new system of ethical values based on sacrifice, care, and anti-colonial nationalism. But while players are seen to embody socialist values, I argue that baseball creates a range of meanings and possibilities for players that exceeds the State’s ability to direct or control.

Life in Cuba is largely defined by el Partido Comunista de Cuba’s (PCC) tradition of governance. Since the ratification of Decree 349 in 2018 – a law that punitively curtails freedom of expression – Cuba has witnessed an upsurge in publicly staged resistance. The emergence of several artist-led, non-partisan civic groups, united by their fight for human rights, exemplifies this. Two prominent examples are el Movimiento San Isidro (MSI) and 27N. This thesis investigates how the artistic interventions of MSI, 27N, and their members can be understood as decolonial praxis. To navigate and convey this argument and its associated logics, this thesis employs a two-part methodological approach: exploratory mapping in digital and analog forms, as well as critical feminist and queer phenomenological analysis that is woven with Doreen Massey’s relational spatial theory.