From the 15th century onward, the Caribbean has been populated with different ethnic groups, cultures, flora, and fauna in a way that is constantly changing the visual sensibilities of the space. The mixture of ethnic and nation groups that had settled by the 20th century produced a range of iconographic symbols, use of colors and forms that would signify the Caribbean aesthetic. This included a style of Caribbean painting which is referred to as Caribbean expressionism, the latter which included the group of artists known as intuitives or primitives. With few formal schools or institutions for instruction or opportunities for critical review, the Caribbean visual palette was established largely through the creativity of those involved in various festivals or ritual practices. Artistic expressions resemble performance or installation art rather than the classic forms of painting or sculpture. This work is somewhat iconoclastic in the interpretation of a Caribbean aesthetic and focuses on the homegrown artistic expressions that merge, collide, contradict, and emerge to create originality in this cultural space.
Manuel Hernández González
The configuration of Canarian migration during the Conquest and colonization of the Spanish Caribbean was significantly influenced by its historic continuity, familial nature (with an elevated presence of women and children), dedication to agriculture, and contribution to the settlement of towns. This migration gave rise to quintessentially rural prototypes, such as the Cuban guajiro, linked to self-sustaining agriculture and tobacco; the Puerto Rican jíbaro, a coffee grower; and the Dominican montero or farmer from Cibao. All of these contributed a great many aspects of their speech, idiosyncrasies, and culture.
The migratory dynamic has evolved since the Conquest and includes such processes as Cuban tobacco colonization, the foundation of townships in Santo Domingo and Puerto Rico (in order to further analyze their adaptation to the economic boom of sugar plantations in Cuba and Puerto Rico), and the uprising of slaves in French Santo Domingo, as well as the cession of the Spanish portion of the island to this country in 1795. This event merits special focus, due to its great transcendence in terms of the signs of identity that emerged during the rebellion of the Canarian vegueros against the monopoly within the Havana context, and the defense of their configuration as a distinct people in San Carlos de Tenerife: processes that explain their response to 19th-century innovations in Cuba and Puerto Rico and to Dominican political avatars, as well as their attitudes toward criollismo and emancipation. Their singularities are reflected in the mass Cuban emigration that took place during the early decades of the 20th century.
On March 12, 1956, Basque National and Columbia University lecturer Jesús María de Galíndez Suarez disappeared from New York City never to be seen again. While no conclusive evidence was ever uncovered, it has been widely accepted that he was taken by functionaries of the regime of Rafael Trujillo in the Dominican Republic, flown to the island, tortured, and killed. Galíndez, who had worked for the Trujillo regime after fleeing Spain in 1939 and subsequently immigrated to the United States in 1946, had just completed a dissertation on the Trujillato at Columbia. The regime did not look kindly on his chosen perspective and set in motion a plan to have him disappeared. Following his abduction, many U.S. solidarity activists joined forces with Dominican exile groups to push for greater attention to the atrocities of the Trujillo regime as well as for a closer investigation into Galíndez’s disappearance. While Trujillo had similarly disappeared a number of individuals in the United States and other Latin American countries, the Galíndez case is unique for several reasons. First, Galíndez’s life offers a prime example of a transnational identity, of someone who juggled multiple identities and causes, crossed physical and ideological borders, and operated daily with conflicting alliances and allegiances. Second, the murder of the Basque national mobilized a significant collective of solidarity activists in the United States, garnered considerable national press, and built a foundation for future activism. Moreover, as Galíndez had been working as a U.S. intelligence operative since before his arrival in the United States, his story complicates the traditional nexus of solidarity work. Finally, the case offers a unique window onto the geopolitics of the early Cold War (prior to the Cuban Revolution) and the intricacies of the second half of the Trujillo regime.
Anita Casavantes Bradford and Raúl Fernandez
The years between 1989 and 2005 were a period of exceptional musical productivity and creativity, a “second golden age” of Cuban popular music—the first golden age referring to the 1950s explosion of the mambo and the cha-cha-chá. During this more recent golden age multiple and diverse forms of musical expression gained traction, and island artists enjoyed a dramatic increase in international visibility. The exciting new sounds of timba and Latin jazz, the Buena Vista Social Club–styled reinvention of the son cubano, and the reemergence of música guajira during the 1990s all reflected the dynamic tensions between tradition and innovation, the local and global, and between an imaginary “authentic” and the much denigrated “commercial” that have long animated the island’s extraordinary musical culture. Despite the seeming newness and singularity of much of the music produced during this period, this second golden age was in fact characterized as much by cross-genre collaboration and continuities with earlier trends in Cuban music and musical culture as by the impact on musical production of unprecedented circumstances of economic deprivation of those years known as the Special Period. A closer look at this second golden age of popular music reveals a cosmopolitan Cuban musical landscape in which styles from different periods coexisted with ease and remained relevant, both as distinct sounds and in dialogue with one another, bringing together a dynamic community of musicians of all levels and styles, old and young, on and off the island. Dynamically poised between the forces of tradition and innovation, and beloved by both local and global audiences, the artists who rose to prominence or were rediscovered during these years each spoke, in their own unique ways, to the innovation, the cross genre collaborations, and above all to the profound historical continuities that have long animated the island’s extraordinary musical culture.