Monumental Art and Hidden Transcripts of Resistance in Revolutionary Cuba, 1970–1990.
The transformative ethos underpinning the Cuban Revolution aimed at the creation of the New Socialist Man as conceived by Che Guevara. This was to be achieved through the expansion of culture and education and the instillation of Marxist–Leninist ideology and philosophy of history. As a materialisat...
| Publicado en: | Journal of Latin American Cultural Studies (1356-9325) Vol. 25; no. 2; pp. 271 - 297 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Jun2016
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=118193143&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 118193143 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 13569325 56O jtl: Journal of Latin American Cultural Studies (1356-9325) issn: 13569325 maglogo: N pubinfo: dt: Jun2016 vid: 25 iid: 2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 118193143 10.1080/13569325.2016.1167016 ppf: 271 ppct: 26 formats: tig: atl: Monumental Art and Hidden Transcripts of Resistance in Revolutionary Cuba, 1970–1990. aug: au: Alonso González, Pablo su: Guevara, Ernesto, 1928-1967 Cultural property Monuments in art Cuban Revolution, 1959 21st century art sug: subj: Cultural property Historical Sites Monuments in art Cuban Revolution, 1959 21st century art Guevara, Ernesto, 1928-1967 keyword: Contemporary Art Cuban Revolution Cultural Heritage Monumental Art Contemporary Art Cuban Revolution Cultural Heritage Monumental Art ab: The transformative ethos underpinning the Cuban Revolution aimed at the creation of the New Socialist Man as conceived by Che Guevara. This was to be achieved through the expansion of culture and education and the instillation of Marxist–Leninist ideology and philosophy of history. As a materialisation of history, monuments were considered as key devices for the reification and public spread of the official ideology. This paper explores how the Cuban Revolution generated a new public monumental aesthetic resulting from the competing demands of political commissioners and artists. It argues that artists sustained a hidden transcript of resistance by promoting abstract art, under the increasing pressure of the regime to develop a monumental public symbolic and material space following Soviet realist models. The paper focuses in the period of higher socio-cultural repression between the mid-1970s and the start of the Special Period in 1990. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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