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Resultados 4 recursos
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This study presents an analysis of the appropriation of public space by cultural producers in Cuba, with a focus on art collectives, in particular, OMNI Zona Franca from Alamar, east of Havana. Based on primary research conducted with the artists, cultural producers, and scholars, I discuss OMNI’s work in the context of the history and formation of a nascent movement for civil society in Cuba, locating the collective’s work within the matrix of alternative and African diasporic cultural production. The latter is framed as part of a historical continuum and in the context of the discussion of race that emerged in Cuba’s public sphere during the 1990s with a concurrent movement among black Cuban artists to address issues of race. Situating OMNI’s work in a longer history of Afro-Cuban cultural production in Cuba as well as within the history of art collectives this study demonstrates how OMNI’s participation in the public sphere relates to social practice, appropriation of space, alternativity, and the forging of a wide coalition of civil and artistic alternatives among diverse communities. I draw on discourses on the production of space, particularly those of Henri Lefebvre and Raymond Williams, and argue that the unique and specific history of Alamar provided a fertile ground for alternative culture where multiple and countercultural expressions could be incubated and take root. The struggle over public space and the attempts by artists to create an autonomous public sphere in Cuba have led to continual conflict with the state. Using Gramsci’s theorization of civil society as incorporating both the hegemonic and contestatory realms, I contend that the level of contestation in OMNI Zona Franca’s work should be seen as counter-hegemonic expression aimed at altering the status quo. Producing new social relations, the collective’s practice is offered as an example of how art and cultural production is inaugurating alternative counter-spaces in the context of a demand for a more inclusive and representative Revolutionary public sphere.
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La guaracha, como otras manifestaciones de la cultura oral americana, no ha recibido una justa atención crítica, a pesar de ser un género destacadísimo en la producción popular de Cuba y el Caribe, carencia que este trabajo pretende paliar. Enraizada en el cruce de las tradiciones culturales indígena, hispana y africana, y ligada al proverbial choteo cubano, la guaracha ha recorrido un largo trayecto desde sus inicios en el teatro bufo hasta hoy, fundiéndose con otras modalidades lírico-musicales como muestra de su versatilidad y capacidad de adaptación a los tiempos. Se ilustran las características poéticas de este género a través del análisis de algunas letras de Faustino Oramas "El guayabero", quien alcanzó una notable popularidad en toda Cuba a finales del siglo XX. Similar to other manifestations of oral tradition in American culture, the guaracha has not received its deserved attention from critics, despite being an incredibly prominent genre of popular production in Cuba and the Caribbean. It is this lack of attention that this article intends to remedy. Rooted in the intersection of Indigenous, Hispanic, and African cultures and bound to the proverbial Cuban banter, the guaracha has journeyed from its beginnings in the bufo theatre to its current merging with other lyrical-musical forms, demonstrating its versatility and ability to adapt with the times. Through analyses of lyrics by Faustino Oramas – also known as "The guayabero" – who reached noteworthy popularity throughout Cuba at the end of the 20th century, the poetic characteristics of the genre shine through.
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Uno de los rasgos que signan la identidad caribeña se corresponde, sin lugar a dudas, con un área expresiva tan intensa y extensa como la de la música popular bailable. Durante mucho tiempo relegada a planos secundarios por los estudios culturológicos, su investigación ha ido ganando terreno e importancia, ya que adentrarse en su conocimiento presupone el hacerlo en la cultura de los hombres que viven en esta área geográfica y su interacción con el mundo.
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Enfoque
- Semiótico-Cultural
- Sociológico (3)
- Análise Cultural (2)
- Histórico (2)
- Interartes (2)
- Literário (2)
- Musicológico (2)
- Sobre Performance (2)
- Antropológico (1)
- Empírico/Sistémico (1)
Período
- 1990–atualidade (4)
- 1946–1989 (1)
Relações Interartísticas
- Música (4)
- Artes Cênicas (2)
- Dança (2)
- Improvisação e Happening (2)
- Performance (2)
- Artes Gráficas (1)
- Cinema (1)
- Graffiti (1)
Repertórios
- Poéticas Identitárias (4)
- Poéticas Sociais (3)
- Poesia Tradicional (2)
- Poéticas da Encenação (2)
- Poéticas das Neovanguardas (2)
- Poéticas do Espetáculo (2)
- Poéticas Agitprop (1)
- Poéticas da Improvisação (1)
- Poéticas da Voz (1)
- Poéticas do Corpo (1)
- Poéticas Lúdicas (1)
Tipo de recurso
Ano de publicação
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Entre 2000 e 2026
(4)
- Entre 2000 e 2009 (2)
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Entre 2010 e 2019
(2)
- 2013 (2)