To Whom It Belongs: The Aftermaths of Afrocubanismo and the Power over Lo Negro in Cuban Arts, 1938–1958.
This article explores the impact of Afrocubanismo on the development of Cuba’s arts during the 1940s and 1950s. The article follows the discursive output of artists, intellectuals, and cultural policymakers of different racial backgrounds over the deployment of lo negro to construct cubanidad. It ar...
| Publicado en: | Latin American Research Review Vol. 57; no. 1; pp. 1 - 19 |
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| Formato: | Artículo |
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Cambridge University Press
Mar2022
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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=159200840&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 159200840 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 00238791 LAR jtl: Latin American Research Review issn: 00238791 maglogo: N pubinfo: dt: Mar2022 vid: 57 iid: 1 pid: 15979 pub: Cambridge University Press artinfo: ui: 159200840 10.1017/lar.2022.1 ppf: 1 ppct: 18 formats: fmt: @attributes: type: P size: 908KB tig: atl: To Whom It Belongs: The Aftermaths of Afrocubanismo and the Power over Lo Negro in Cuban Arts, 1938–1958. aug: au: García Yero, Cary Aileen affil: Weatherhead Center for International Affairs, Harvard University, Cambridge, Massachusetts, US. su: Arts Policy sciences Language & languages Racial inequality Black artists sug: subj: Arts Policy sciences Language & languages Racial inequality Black artists keyword: Afrocubanismo apropiación artes arts autenticidad Cuba cultural policy mestizaje politica cultural race raza Afrocubanismo apropiación artes autenticidad politica cultural raza Afrocubanismo apropiación artes arts autenticidad Cuba cultural policy mestizaje politica cultural race raza Afrocubanismo apropiación artes autenticidad politica cultural raza ab: This article explores the impact of Afrocubanismo on the development of Cuba’s arts during the 1940s and 1950s. The article follows the discursive output of artists, intellectuals, and cultural policymakers of different racial backgrounds over the deployment of lo negro to construct cubanidad. It argues that, if the 1920s and 1930s experienced a movement towards the construction of a homogeneous mestizo Cuba, the following decades reveal an effort by some artists to desyncretize lo cubano. While some intellectuals constructed notions of authenticity that circumscribed black art to black artists, many white Cuban artists in turn embraced elite Hispanic heritage as their main creative language while valorizing some Afro-Cuban artists’ recreations of lo negro. The article also demonstrates that the scholarly debates about cultural appropriation in recent decades have a long history within the Afro-Cuban community. It shows how Afro-Cuban artists and intellectuals pioneered arguments about the exploitative use of lo negro to make national art and the central role of culture in shaping racial inequality. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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