{"id":31770,"date":"2013-06-17T00:00:28","date_gmt":"2013-06-17T00:00:28","guid":{"rendered":"http:\/\/www.mixedracestudies.org\/wordpress\/?p=31770"},"modified":"2013-06-17T01:13:52","modified_gmt":"2013-06-17T01:13:52","slug":"the-cuban-remix-rethinking-culture-and-political-participation-in-contemporary-cuba","status":"publish","type":"post","link":"https:\/\/mixedracestudies.org\/wp\/?p=31770","title":{"rendered":"The Cuban Remix: Rethinking Culture and Political Participation in Contemporary Cuba"},"content":{"rendered":"<p><strong><em><a href=\"http:\/\/hdl.handle.net\/2027.42\/61575\" target=\"_blank\">The Cuban Remix: Rethinking Culture and Political Participation in Contemporary Cuba<\/a><\/em><\/strong><\/p>\n<p>University of Michigan<br \/>\n2008<br \/>\n555 pages<\/p>\n<p><strong>Tanya L. Saunders<\/strong><\/p>\n<p><em>A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Sociology)<\/em><\/p>\n<p>This dissertation examines the post-1959 activism of Cuba\u2019s socially critical artists and intellectuals, and the effects of the Cuban state\u2019s institutionalization of culture. I analyze the Cuban underground hip-hop movement as a case study of the ways in which Black artists and intellectuals in Cuba have employed cultural aesthetics to challenge contemporary inequalities organized around race, class, gender, and sexuality. I address the social context in which the Cuban underground hip-hop movement emerged by linking it to Cuba\u2019s revolutionary project and to other counter-cultural social movements in Cuba\u2019s history and from other post-colonial contexts. Drawing upon extensive ethnographic, historical, and interview-based research, the study engages with existing theories of the state, culture, civil society and the public sphere, but also reveals their limitations, particularly when applied to non-European contexts. As such, the dissertation offers significant insights into the relations between politics and culture, hegemony and resistance, history and the imagination of a better future, both in Cuba and beyond.<\/p>\n<p><strong>Table of Contents<\/strong><\/p>\n<ul>\n<li><strong>DEDICATION<\/strong><\/li>\n<li><strong>ACKNOWLEDGMENTS<\/strong><\/li>\n<li><strong>LIST OF FIGURES<\/strong><\/li>\n<li><strong>Chapter I: Introduction<\/strong>\n<ul>\n<li>1.1 Cuban Underground Hip-Hop<\/li>\n<li>1.2 The Organization of the Dissertation<\/li>\n<li>1.3 Contextual Considerations: Latin American Politics and the Coloniality of Knowledge<\/li>\n<li>1.4 Contextual Considerations: The Cuban Revolution and the Aesthetic Debates<\/li>\n<\/ul>\n<\/li>\n<li><strong>Chapter II: Methodology<\/strong>\n<ul>\n<li>2.1 Background<\/li>\n<li>2.2 Developing a Research Agenda<\/li>\n<li>2.3 Phase One<\/li>\n<li>2.4 Phase Two<\/li>\n<li>2.5 Phase Three<\/li>\n<li>2.6 Data Collection<\/li>\n<\/ul>\n<\/li>\n<li><strong>Section I <\/strong>\n<ul>\n<li><strong>Chapter III: Public Spaces, Cultural Spheres: Rethinking Theories of Political Participation, Civil Society and Social Change<\/strong>\n<ul>\n<li>3.1: Subaltern Critiques of Cold War Politics<\/li>\n<li>3.2 Post-Socialist? Neocolonial? Republican Socialism? Reflections on Cuba\u2018s State Project\n<ul>\n<li><em>Republican Ideals within a Socialist State<\/em><\/li>\n<\/ul>\n<\/li>\n<li>3.3 Citizenship, Democracy and Civil Society in the Anglo-American Metanarrative of Citizenship\n<ul>\n<li><em>Citizenship and Civic Participation<\/em><\/li>\n<\/ul>\n<\/li>\n<li>3.4 Discussion: \u2018Non-Western\u2019 Challenges to Social Change, Political Participation and Civil Society<\/li>\n<\/ul>\n<\/li>\n<li><strong>Chapter IV: Civil Society and Art Worlds: Rethinking Politics and Political Participation<\/strong>\n<ul>\n<li>4.1 Making the Connections: Art and Social Change<\/li>\n<li>4.2 Rethinking Cultural Logics: Culture, Political Participation and Grassroots Activism<\/li>\n<li>4.3 The Base and Superstructure of Culture: The Institutional Structure of Cuban Culture<\/li>\n<li>4.4 The Ministry of Culture<\/li>\n<li>4.5 Discussion<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<li><strong>Section II <\/strong>\n<ul>\n<li><strong>Chapter V: Art and Revolution: Cuba\u201fs Artistic Social Movements and Social Change<\/strong>\n<ul>\n<li>5.1 The alternative music scene: hip-hop and Anti-Modernist Aesthetics<\/li>\n<li>5.2 The Marginal Existence of Cuban Rock within Cuban Culture<\/li>\n<li>5.3 Nueva Trova: The Cuban Protest Music Movement<\/li>\n<li>5.4 Reflections on My First Nueva Trova Show<\/li>\n<\/ul>\n<\/li>\n<li><strong>Chapter VI: Race, Place and Colonial Legacies: Underground hip-hop and a Racialized Social Critique<\/strong>\n<ul>\n<li>6.1 Race and Cuba: Historical Considerations<\/li>\n<li>6.2 American Occupation and the Creation of the Cuban Republic 1898-1912<\/li>\n<li>6.3 The Revolutionary State Attempts to Solve the Race Problem in Cuba<\/li>\n<li>6.4. Making the Linkages: Discussion and Some Additional Thoughts<\/li>\n<li>6.5. Ethnographic Notes: Racial Identity in Contemporary Cuba<\/li>\n<li>6.6. &#8220;Everyone Knows That Whites Exist, But No One\u2018s Sure About The Blacks&#8221; Theoretical Perspectives on Art, hip-hop and Transnational Blackness<\/li>\n<\/ul>\n<\/li>\n<li><strong>Chapter VII: Racial Identity and Revolution: The (Re-)Emergence of a Black Identity Among Havana\u201fs Underground Youth<\/strong>\n<ul>\n<li>7.1 Cuban Underground Hip-Hop and Symbols of Blackness<\/li>\n<li>7.1a Raperos, Activistas, Revolutionaries: Underground Hip-Hop and Social Change<\/li>\n<li>7.2 Notes on Language\n<ul>\n<li><em>7.2.1 Underground hip-hop\/Comercializaci\u00f3n\/Institucionalizaci\u00f3n<\/em><\/li>\n<\/ul>\n<\/li>\n<li>7.3 Transmitting Blackness: Graffiti, T-Shirts and the Black Experience<\/li>\n<li>Figure 7q. Album cover, Jodido Protagonista, by Rande\u00e9e Akozta (independently produced, circa 2004).<\/li>\n<li>7.4 Underground Graffiti: NoNo La Grafitera<\/li>\n<li>7.5 Section Summary\/Concluding Remarks<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<li><strong>Section III <\/strong>\n<ul>\n<li><strong>Chapter VIII: Cuba\u201fs Sexual Revolution? Women, Homosexuality and Cuban Revolutionary Policy<\/strong>\n<ul>\n<li>8.1 All the Women Are Straight and All the Homosexuals are Men: Gender and Female (Homo-) Sexuality<\/li>\n<li>8.2. Silent Women, Invisible Lesbians: Researching the Experiences of Lesbians in Cuba<\/li>\n<li>8.3 Notes on Contemporary Lesbian, Gay Life in Cuba<\/li>\n<\/ul>\n<\/li>\n<li><strong>Chapter IX: \u201cSiempre Hay Lucha\/There Is Always a Struggle\u201d: Black Women, Race and Identity in Contemporary Cuba<\/strong>\n<ul>\n<li>9.1 (1). \u2015No Particular Racial Subjectivity\u2016<\/li>\n<li>9.2 (2). The Racially Conscious Race Rejecters<\/li>\n<li>9.3 (3). The Racially Awakened<\/li>\n<li>9.4 (4). Racially Conscious Actors<\/li>\n<li>9.5 \u00bfY Que Paso Con OREMI?\/ And What Happened with OREMI? Black Lesbian Subjectivity in Contemporary Cuba<\/li>\n<li>9.6 Conclusion<\/li>\n<\/ul>\n<\/li>\n<li><strong>Chapter X: \u201cNo Soy Kruda\u201d: Las Krudas, Cuban Black Feminism and the Queer of Color Critique<\/strong>\n<ul>\n<li>10.1 Who Are Las Krudas?<\/li>\n<li>10.2 Las Krudas: Raperas Underground<\/li>\n<li>10.3 Krudas\u2018 Black Feminist Discourse<\/li>\n<li>10.4 Como Existe La Heterosexualidad, Existe Homosexualidad\/Just As There Is Heterosexuality, There Is Homosexuality<\/li>\n<li>10.5 Krudas and the Queer of Color Critique<\/li>\n<li>10.6 Reaction to Krudas\u2018 Work<\/li>\n<li>10.7 Conclusion\/Discussion<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<li><strong>Chapter XI: Conclusion<\/strong>\n<ul>\n<li>The Sociological Implications of My Research<\/li>\n<\/ul>\n<\/li>\n<li><strong>Appendix<\/strong><\/li>\n<li><strong>Discography, Interviews, IRB Forms &amp; Supplementary Materials<\/strong><\/li>\n<li><strong>Bibliography<\/strong><\/li>\n<\/ul>\n<p>Read the entire dissertation <a href=\"http:\/\/deepblue.lib.umich.edu\/bitstream\/handle\/2027.42\/61575\/tanyasau_1.pdf?sequence=1\" target=\"_blank\">here<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The Cuban Remix: Rethinking Culture and Political Participation in Contemporary Cuba University of Michigan 2008 555 pages Tanya L. Saunders A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Sociology) This dissertation examines the post-1959 activism of Cuba\u2019s socially critical artists and intellectuals, and the effects of the [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1649,21,838,8,394,20],"tags":[673,14932,14933,3804],"class_list":["post-31770","post","type-post","status-publish","format-standard","hentry","category-anthropology","category-latincarib","category-dissertations","category-media-archive","category-socialscience","category-usa","tag-cuba","tag-tanya-l-saunders","tag-tanya-saunders","tag-university-of-michigan"],"_links":{"self":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/31770","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=31770"}],"version-history":[{"count":0,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=\/wp\/v2\/posts\/31770\/revisions"}],"wp:attachment":[{"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=31770"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=31770"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/mixedracestudies.org\/wp\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=31770"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}