In essays addressing topics ranging from cinema, feminism, and art to hip hop, urban slums, and digital technology, Sujatha Fernandes explores the multitudinous ways ordinary Cubans have sought to hustle, survive, and create expressive cultures in the aftermath of the Soviet Union's collapse.
In essays addressing topics ranging from cinema, feminism, and art to hip hop, urban slums, and digital technology, Sujatha Fernandes explores the multitudinous ways ordinary Cubans have sought to hustle, survive, and create expressive cultures in the aftermath of the Soviet Union's collapse.
Sujatha Fernandes is Professor of Political Economy and Sociology at the University of Sydney and author of Cuba Represent!: Cuban Arts, State Power, and the Making of New Revolutionary Cultures and Who Can Stop the Drums?: Urban Social Movements in Chávez's Venezuela both also published by Duke University Press, and most recently of Curated Stories: The Uses and Misuses of Storytelling.
Inhaltsangabe
Acknowledgments ix Introduction 1 Part I. Cultures of the Special Period 1. Revolution and Rumba: Cuba in the Special Period 9 2. Alice in Wondertown: Interview with Filmmaker Daniel Díaz Torres 15 3. Magín: Feminist Organizing in Cuba 22 4. Vitality in Precarious Conditions: Conversation with Artist/Art Critic Tonel 32 5. Public Art and Art Collectives in Havana 44 6. New Cuban Cinema: Race and Sexuality 53 7. The Capital of Rap: Hip Hop Culture in Alamar 62 8. Cultural Cimarronaje: Afro-Cuban Visual Arts 71 9. Elio Rodríguez: Of Joint Ventures and Sexual Adventures 77 Part II. Normalization: Netflix Meets the Weekly Packet 10. Cuban Rap: Where the Streets Meet Highbrow Art 87 11. Why USAID Could Never Spark a Hip Hop Revolution in Cuba 90 12. Stories that Resonate: New Cultures of Documentary Filmmaking in Cuba (With Alexandra Hakin) 94 13. What Do Cubans Think of Normalization with the United States? 100 14. The Repeating Barrio 104 15. In Cuba, Will the Revolution Be Digitized? 111 16. Afro-Cuban Activists Fight Racism between Two Fires 120 17. Black Diasporic Dialogues in Post-Soviet Cuba 129 18. The Many Shades of Fidel Castro 133 Part III. Cuban Futures and the Trump Era 19. The Cold War Politics of Donald Trump 139 20. Hairdressers of the World, Unite! (You Have Nothing to Lose but Your Locks . . . and a Community to Win) 143 21. How Socially Engaged Activism Is Transforming Cuba 152 22. A Ship Adrift: Cuba after the Pink Tide 162 Epilogue 167
Acknowledgments ix Introduction 1 Part I. Cultures of the Special Period 1. Revolution and Rumba: Cuba in the Special Period 9 2. Alice in Wondertown: Interview with Filmmaker Daniel Díaz Torres 15 3. Magín: Feminist Organizing in Cuba 22 4. Vitality in Precarious Conditions: Conversation with Artist/Art Critic Tonel 32 5. Public Art and Art Collectives in Havana 44 6. New Cuban Cinema: Race and Sexuality 53 7. The Capital of Rap: Hip Hop Culture in Alamar 62 8. Cultural Cimarronaje: Afro-Cuban Visual Arts 71 9. Elio Rodríguez: Of Joint Ventures and Sexual Adventures 77 Part II. Normalization: Netflix Meets the Weekly Packet 10. Cuban Rap: Where the Streets Meet Highbrow Art 87 11. Why USAID Could Never Spark a Hip Hop Revolution in Cuba 90 12. Stories that Resonate: New Cultures of Documentary Filmmaking in Cuba (With Alexandra Hakin) 94 13. What Do Cubans Think of Normalization with the United States? 100 14. The Repeating Barrio 104 15. In Cuba, Will the Revolution Be Digitized? 111 16. Afro-Cuban Activists Fight Racism between Two Fires 120 17. Black Diasporic Dialogues in Post-Soviet Cuba 129 18. The Many Shades of Fidel Castro 133 Part III. Cuban Futures and the Trump Era 19. The Cold War Politics of Donald Trump 139 20. Hairdressers of the World, Unite! (You Have Nothing to Lose but Your Locks . . . and a Community to Win) 143 21. How Socially Engaged Activism Is Transforming Cuba 152 22. A Ship Adrift: Cuba after the Pink Tide 162 Epilogue 167
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