Label: Horizonte - CDH - 23 • Format: CD Album • Country: Portugal • Genre: Folk, World, & Country • Style: African
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2 99 Newman iii Arts and Culture. As one of the largest and most dynamic conferences on Cuba to date, the Cuba Futures symposium drew the attention of specialists from all parts of the world. Nearly individuals attended the 57 panels and plenary sessions over the course of three days. Over panelists from the US, Cuba, Britain, Spain, Germany, France, Canada, and other countries combined perspectives from various fields including social sciences, economics, arts and humanities.
They provided indepth treatment of a wide range of topics, including US-Cuba relations, healthcare, the history and legacy of the Cuban revolution, the increasingly complex Cuban diasporas, cinema, music, literature, and cultural institutions, the visual and performing arts, religion, the role of intellectuals, urban spaces, civil society, democracy, the impact of the Internet and technology, social development, non-governmental organizations, Afro-Cuban cultural movements, gender and sexuality, tourism, and race and ethnicity.
The conference was organized by Bildner Center director Mauricio A. Font and the Cuba Futures organizing committee, consisting of a growing number of Cuba specialists at the City University of New York, with support from the Bildner Center staff. SinceThe Cuba Project has been organizing related conferences creating a space for sustained dialogue on contemporary issues of Cuban society. The papers in this volume were v Arts and Culture. Arts and Culture. Race and Symbolism As a member of the mulatto working class, Figueroa represented an Afro-Hispanic community that shunned the idea of political action based solely on race.
Rather, they mobilized along national and class identity. While black mutual aid societies were common, their goals had more to do with self-improvement than broader societal change.
Cuban race relations were irrevocably tied to the experience of the Arts and Culture. Accepting the premise, however, required selective memory of past injustice. The issue of race was a difficult one for anyone who sought to organize Cuban and Puerto Rican expatriates, yet it was central to the success of Cuban independence. By associating subjugation to the Spanish Crown with slavery, Figueroa took a word loaded with the history of exploitation and misery for blacks in the Caribbean and broadened its meaning to include the whole of the Cuban population, not just those who were literally enslaved.
This concept allowed for broad distinctions between nations, as Figueroa Arts and Various - Best Of Independent 20. Here, Figueroa espouses the idea that the Latin American context formed people in an entirely different mold than the peoples that comprised the Sofia Rosa - Unknown Artist - África Merengues Vol.
2 States. The sentiment had contradictions, however, as drawing such a distinction often involved denigrating the heritage of the U. Por esto extermina, en su victoriosa marcha, a los elementos que se le resisten por no querer ser absorbidos Quoted in Figueroa, La verdad de la historia, : 7.
For Figueroa, whose working-class sympathies were well known, Trujillo represented a moneyed elite that sought only personal gain from the revolution and were eager to sell out the patria whose freedom was being bought with the blood of thousands of working-class foot soldiers. Conclusion In the battle for the souls of Cuba and Puerto Rico, the issue of identity was of prime importance to those who penned the separatist narrative.
Figueroa, La verdad de la historia, It is also a significant expression of racial solidarity that Figueroa, a descendant of actual slaves, freely used the idea of slavery as a metaphor for political bondage to the Spanish Empire.
The U. Bibliography Figueroa, Sotero. La verdad de la historia. Figueroa, Sotero. Guerra, Lillian. Hoffnung-Garskof, Jesse. Fall James, Winston. Petrine Archer-Strawsin embargo, alega que las vanguardias francesas ven las culturas africanas como una alternativa a las culturas desgastadas de Europa. Otro tema seminal de la conferencia fue la enorme importancia de los elementos africanos que definen los rasgos culturales esenciales de las sociedades postcoloniales con un marcado componente africano de las Die Über-Doris - Die Tödliche Doris - Die Über-Doris culturales de los antiguos colonizadores europeos Cobb, Ver nota 7.
Cubarte, 11 de mayo Archer-Straw, Petrine. Birkenmaier, Anke. Madrid: Vervuert. Bouffartigue, Sylvie. Braham, Persephone. Detective Fiction in Cuba and Mexico. Carpentier, Sofia Rosa - Unknown Artist - África Merengues Vol. 2 . Madrid: Alfaguara, Cobb, Martha K. Harlem, Haiti and Havana. Washington, Sofia Rosa - Unknown Artist - África Merengues Vol.
2. Cairo, Ana. El grupo minorista y su tiempo. La Habana: Editorial Ciencias Sociales. Caro, Boris Leonardo. Cuba Literaria. Eburne, Jonathan. Oxford: Peter Lang: Font, Mauricio and Alfonso Quiroz. Cuban Counterpoints.
The Legacy of Fernando Ortiz. New York: Lexington. Alejo Carpentier. The Pilgrim at Home. Ithaca: Cornell UP. Hall, Mordaunt. Movie Review: Puppets The New York Times, June Punk Rock College - Objection Overule - Bollocks To You, La Habana Elegante Against the American Grain.
Baltimore: Johns Hopkins UP. The Journal of Decorative and Propaganda Arts. Moore, Robin D. Nationalizing Blackness. Afrocubanismo and Artistic Revolution In Havana, Pittsburgh: U of Pittsburgh P. Nadeau, Maurice. Naranjo Orovio, Consuelo.
Bildner Center for Western European Studies. Nieves Rivera, Dolores, ed. Fantoches Dolores Nieves Rivera. Rojas, Rafael. Essays in Cuban Intellectual History. New York: Palgrave McMillan. Sublette, Ned. Cuba and Its Music. Chicago: Chicago Review Press. Wilkinson, Stephen. Detective Fiction in Cuban Society and Culture.
New York: Peter Lang.