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Crisscrossing Gender, Ethnicity, and Race: African Religious Legacy in Cuban Contemporary Women's Art.

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Title: Crisscrossing Gender, Ethnicity, and Race: African Religious Legacy in Cuban Contemporary Women's Art.
Authors: Ana Belén Martín-Sevillano
Source: Cuban Studies. 2011, Vol. 42, p136-154. 19p.
Subjects: ART & society, WOMEN artists, SOCIAL policy, BLACK Cubans, ART exhibitions & society, ETHNICITY & society, GENDER role, MODERN art, CULTURAL identity, CUBAN Revolution, 1959, RELIGION
Geographic Terms: CUBA
Abstract (English): Despite the many redistributive social policies that the Cuban Revolution implemented, the crisis of the Special Period has had severe consequences for Afro-Cubans, who are overrepresensed in the poorer sectors of Cuban society. At the tame time, the lost of many social benefits and increased social competition have fueled previously underlying racial prejudices. Like other cultural manifestations, such as Cuban rap music, the visual arts have launched a public discussion about the growing social fracture set off by the collapse of the Soviet Union and the rite of racial inequalities. From 1997 to 2011, the Queloides art exhibits have presented the work of a number of artists that are currently focusing their artistic practices on issues of race and racism. A strategy implemented is the artwork to contest social processes of racialization ban been the representation of Afro-Cuban religious practices, previously marginalized or reduced to folklore. In this context, the use of the Afro-Cuban legacy enables women artists to reflect on the consistency of identity market such as race, gender, and ethnicity. In this article, I am particularly interested in revealing how subjectivity informs this artwork and how it in conceived an a site for reinvention at which identity markers are restructured and redefined. [ABSTRACT FROM AUTHOR]
Abstract (Spanish): A pesar de las numerosas medidas redistributivas que la Revolución cubans llevó a cabo desde aus inicios, la crisis del denominado Período Especial ha tenido graves consecuencias pars el colectivo de los afrocubanos, que istegra buena parse del sector más pobre de la sociedsd cubana. Por an parte, is pérdida de numerosas prebendas sociales y el crecimiento de la competitividad han hecho emerger prejuicios sociales que se habían mantenido latentes. Desde los años noventa, las artes visuales, al igual que otras manifeataciones culturales como la música rap, han planteado us debate público sobre la creciente fractura social y el auge de la desigualdad racial. Desde 1997 a 2011, la secuencia de exposiciones denominada Queloides ha presentado el trabajo de us número de artiatas que se han centrado en considerar aspectos relacionados con la raza y el racismo. Una de las easrategias usilizadas en la obra artíatics para diacutir los procesos sociales de racialización ha sido la represeniación de las práeticas religiosas afrocubanas, que hasta entonces habían sido marginslizadas o reducidas a folclore. En ease contexto, el principal objetivo de este artículo es analizar cómo el uso del legado religioso afrocubano le permite a un nümero de mujeres reflexionar en su obra artística sobre la dimensión de ciertos marcadores de la identidad, como lo son la raza, el género y la etnicidad. El artículo considera en especial cómo el trabajo de estas artistas se alimenta de Ia subjetividad de éstas, siendo concebido como un espacio paralIa reinvención, donde Ia identidad se reestructura y redefine. [ABSTRACT FROM AUTHOR]
Database: Referencia Latina
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DbLabel: Referencia Latina
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PubTypeId: academicJournal
PreciseRelevancyScore: 834.038208007813
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– Name: Abstract
  Label: Abstract (English)
  Group: Ab
  Data: Despite the many redistributive social policies that the Cuban Revolution implemented, the crisis of the Special Period has had severe consequences for Afro-Cubans, who are overrepresensed in the poorer sectors of Cuban society. At the tame time, the lost of many social benefits and increased social competition have fueled previously underlying racial prejudices. Like other cultural manifestations, such as Cuban rap music, the visual arts have launched a public discussion about the growing social fracture set off by the collapse of the Soviet Union and the rite of racial inequalities. From 1997 to 2011, the Queloides art exhibits have presented the work of a number of artists that are currently focusing their artistic practices on issues of race and racism. A strategy implemented is the artwork to contest social processes of racialization ban been the representation of Afro-Cuban religious practices, previously marginalized or reduced to folklore. In this context, the use of the Afro-Cuban legacy enables women artists to reflect on the consistency of identity market such as race, gender, and ethnicity. In this article, I am particularly interested in revealing how subjectivity informs this artwork and how it in conceived an a site for reinvention at which identity markers are restructured and redefined. [ABSTRACT FROM AUTHOR]
– Name: Abstract
  Label: Abstract (Spanish)
  Group: Ab
  Data: A pesar de las numerosas medidas redistributivas que la Revolución cubans llevó a cabo desde aus inicios, la crisis del denominado Período Especial ha tenido graves consecuencias pars el colectivo de los afrocubanos, que istegra buena parse del sector más pobre de la sociedsd cubana. Por an parte, is pérdida de numerosas prebendas sociales y el crecimiento de la competitividad han hecho emerger prejuicios sociales que se habían mantenido latentes. Desde los años noventa, las artes visuales, al igual que otras manifeataciones culturales como la música rap, han planteado us debate público sobre la creciente fractura social y el auge de la desigualdad racial. Desde 1997 a 2011, la secuencia de exposiciones denominada Queloides ha presentado el trabajo de us número de artiatas que se han centrado en considerar aspectos relacionados con la raza y el racismo. Una de las easrategias usilizadas en la obra artíatics para diacutir los procesos sociales de racialización ha sido la represeniación de las práeticas religiosas afrocubanas, que hasta entonces habían sido marginslizadas o reducidas a folclore. En ease contexto, el principal objetivo de este artículo es analizar cómo el uso del legado religioso afrocubano le permite a un nümero de mujeres reflexionar en su obra artística sobre la dimensión de ciertos marcadores de la identidad, como lo son la raza, el género y la etnicidad. El artículo considera en especial cómo el trabajo de estas artistas se alimenta de Ia subjetividad de éstas, siendo concebido como un espacio paralIa reinvención, donde Ia identidad se reestructura y redefine. [ABSTRACT FROM AUTHOR]
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RecordInfo BibRecord:
  BibEntity:
    Languages:
      – Code: eng
        Text: English
    PhysicalDescription:
      Pagination:
        PageCount: 19
        StartPage: 136
    Subjects:
      – SubjectFull: ART & society
        Type: general
      – SubjectFull: WOMEN artists
        Type: general
      – SubjectFull: SOCIAL policy
        Type: general
      – SubjectFull: BLACK Cubans
        Type: general
      – SubjectFull: ART exhibitions & society
        Type: general
      – SubjectFull: ETHNICITY & society
        Type: general
      – SubjectFull: GENDER role
        Type: general
      – SubjectFull: MODERN art
        Type: general
      – SubjectFull: CULTURAL identity
        Type: general
      – SubjectFull: CUBAN Revolution, 1959
        Type: general
      – SubjectFull: RELIGION
        Type: general
      – SubjectFull: CUBA
        Type: general
    Titles:
      – TitleFull: Crisscrossing Gender, Ethnicity, and Race: African Religious Legacy in Cuban Contemporary Women's Art.
        Type: main
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          Name:
            NameFull: Ana Belén Martín-Sevillano
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          Dates:
            – D: 01
              M: 01
              Text: 2011
              Type: published
              Y: 2011
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              Value: 42
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            – TitleFull: Cuban Studies
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