Decolonizar la mirada: Religiosidad popular y resistencia en la fotografía cubana contemporánea.
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| Title: | Decolonizar la mirada: Religiosidad popular y resistencia en la fotografía cubana contemporánea. |
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| Authors: | Ravelo-García, Mónica R. |
| Source: | Cuban Studies. 2024, Vol. 53, p22-46. 25p. |
| Subjects: | PHOTOGRAPHY, RELIGIOUSNESS, SOCIAL problems, QUALITATIVE research |
| Geographic Terms: | CUBA |
| Abstract: | In this article we analyze the approaches of popular religious signs, emphasizing those of African origin, in Cuban photography between 1980 and 2022. We start by presenting a set of conceptual tools that support our critical approach to the object of study. To do this, we define two key aspects: the apparatuses and internal colonialism. Next, we contextualize the Cuban state policies linked to religiosity and the evolution of photography since 1959. In the third and fourth sections, we relate a group of Cuban artists who approach popular religiosity through photography. We systematize these works from 1980 to 2022. We point out the creeds addressed, the artistic solutions, and the issues addressed by the authors. We emphasize the articulation of critical approaches, religiosity, and social problems. The latter encompass gender relations, economic precariousness, changes in daily practices, and the effect of state policies. The works we study show the importance of religiosity in the Cuban people and the semantic expansion of signs and their visual configurations. In methodological terms, we use the theoretical perspective of resistance art, the qualitative methodology, and the discourse analysis method. [ABSTRACT FROM AUTHOR] |
| Database: | Referencia Latina |
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| Abstract: | In this article we analyze the approaches of popular religious signs, emphasizing those of African origin, in Cuban photography between 1980 and 2022. We start by presenting a set of conceptual tools that support our critical approach to the object of study. To do this, we define two key aspects: the apparatuses and internal colonialism. Next, we contextualize the Cuban state policies linked to religiosity and the evolution of photography since 1959. In the third and fourth sections, we relate a group of Cuban artists who approach popular religiosity through photography. We systematize these works from 1980 to 2022. We point out the creeds addressed, the artistic solutions, and the issues addressed by the authors. We emphasize the articulation of critical approaches, religiosity, and social problems. The latter encompass gender relations, economic precariousness, changes in daily practices, and the effect of state policies. The works we study show the importance of religiosity in the Cuban people and the semantic expansion of signs and their visual configurations. In methodological terms, we use the theoretical perspective of resistance art, the qualitative methodology, and the discourse analysis method. [ABSTRACT FROM AUTHOR] |
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| ISSN: | 03614441 |
| DOI: | 10.1353/cub.2024.a930636 |
