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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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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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El doble sentido y la picardía, la utilización de términos eminentemente populares son inherentes a esta música desde sus orígenes, aunque es indudable que existen diferentes formas de abordarlos. Entonces, hay que buscar el cambio en el necesario reflejo de nuevas realidades, de lo cual la música ―como hecho estético― no puede escapar.
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- Análise Cultural (4)
- Sociológico (4)
- Estético (2)
- Estudos sobre a Espacialidade/Cidade (2)
- Interartes (2)
- Musicológico (2)
- Semiótico-Cultural (2)
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- Estudos sobre Oralidade/Sonoridade (1)
- Histórico (1)
- Literário (1)
- Media Studies (1)
Período
- 1990–atualidade (4)
- 1946–1989 (1)
Relações Interartísticas
- Dança
- Música (4)
- Performance (3)
- Artes Gráficas (2)
- Graffiti (2)
- Improvisação e Happening (2)
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Repertórios
- Poéticas Identitárias (3)
- Poéticas Agitprop (2)
- Poéticas da Encenação (2)
- Poéticas da Voz (2)
- Poéticas do Corpo (2)
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Tipo de recurso
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- Dissertação (1)
Ano de publicação
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Entre 2000 e 2026
(4)
- Entre 2000 e 2009 (3)
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Entre 2010 e 2019
(1)
- 2013 (1)