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Embodied Identities in Cuban and Mexican Cultural

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Embodied Identities in Cuban and Mexican Cultural EN CARNE PROPIA : EMBODIED IDENTITIES IN CUBAN AND MEXICAN CULTURAL PRODUCTION BY Kirsten M. Drickey Submitted to the graduate degree program in Spanish and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the Degree of Doctor of Philosophy. __________________________ Chairperson Committee members __________________________ __________________________ __________________________ __________________________ Date defended: _____________ 2 The Dissertation Committee for Kirsten M. Drickey certifies that this is the approved version of the following dissertation: EN CARNE PROPIA : EMBODIED IDENTITIES IN CUBAN AND MEXICAN CULTURAL PRODUCTION Committee: ________________________________ Chairperson ________________________________ ________________________________ Date approved: __________________ 3 In twentieth-century Cuba and Mexico, each post-revolutionary state consolidated power through cultural production, especially film and literature, by funding national cinema and institutions such as the Union of Cuban Writers and Artists. This project examines the ways in which contemporary writers, filmmakers, and performance artists (1980-2006) emphasize personal, embodied experience to examine and frequently contest the generalized and overarching identity constructs propagated as part of an explicitly national post-revolutionary culture in Cuba and Mexico. Writers such as Ena Lucía Portela, Abilio Estévez, Pedro Juan Gutiérrez, Antonio José Ponte, Jorge Volpi, Federico Campbell, performance artist Astrid Hadad, and filmmakers Tommy Lee Jones, Tomás Gutiérrez Alea, and Alfonso Cuarón explore how the destabilization of revolutionary ideology and increasing economic and political changes in each country affects the daily lives of artistic subjects, thereby underscoring the social role of art and the tensions between art and commerce in contemporary Cuba and Mexico. 4 Acknowledgements This project would not have been possible without the professors and classmates who maintained a supportive and stimulating intellectual environment; I would particularly like to thank the members of my dissertation committee, Vicky Unruh, Jill Kuhnheim, Danny Anderson, Stuart Day, and Tamara Falicov, as well as Yajaira Padilla and Jonathon Mayhew. My project would not have taken the shape it did without the contributions of the following people. I would especially like to thank my advisor, Vicky Unruh, for getting me hooked on Latin American literature way back when I was a college freshman and for her generous guidance in the many years since then; my parents, for their enthusiastic and creative explanations about why their eldest daughter is still in school; my sister, for being my sister; Stacy, Megan, and Arpana, for the group therapy; and Annam, Laura, Erin, and Kendall for their careful consideration of my ideas and, of course, for making life that much more fun. 5 Table of Contents Introduction: It’s What’s inside that Matters: Re-imagining Corporeality in Recent Cuban and Mexican Cultural Production (1980s to 2006) (6) Chapter One: Bodily Harm: Clandestine Abortion, Domestic Abuse, and Writing the Body (24) Chapter Two: Performing the Brothel: Prostitution and the Traffic of Identity (79) Chapter Three: The Art of Belonging: Bodies and the Language of Race, Ethnicity, and Nation (129) Chapter Four: Bringing out the Dead: The Embodiments of History, Memory, and Nation (188) Conclusion: Embodiment, the Social Role of Art, and a Partial Answer to the Question, “So, Why Are You Studying That?” (240) End Notes (250) Works Cited (268) 6 Introduction It’s What’s inside that Matters: Re-imagining Corporeality in Recent Cuban and Mexican Cultural Production (1980s to 2006) When one thinks of the stereotypes of Cuban and Mexican popular cultures, they tend to include images of various kinds of bodies: grinning skeletons, sleeping peasants, dancing couples, or Che Guevara’s iconic face. These images point to the ways in which Cuban and Mexican culture is offered as a consumer product, but they are also the sorts of clichés implicitly addressed by the films, novels, performances, and stories in this study. In twentieth-century Cuba and Mexico, each revolutionary state consolidated power with recourse to cultural production, especially film and literature, through the funding of national cinema and institutions like the Casa de las Américas in Cuba. 1 These initiatives often capitalized on artistic or literary trends that used bodies and their imagery to represent the nation, such as those exemplified by writers José Vasconcelos in La raza cósmica (1925), Octavio Paz in El laberinto de la soledad (1950), Fernando Ortiz in Contrapunteo cubano (1940), or Roberto Fernández Retamar in Calibán (1971). Because these efforts were, in large part, aimed at constructing a sense of collective identity, they privileged overarching depictions of bodies that often lead to stereotypes. Even when writers, artists, and filmmakers actively opposed the sorts of imagery with which I begin this study, as with the Cuban socialist state’s desire to move away from tropicalist images of the island as a vacation paradise, they also frequently appropriated the body imagery of marginalized groups to write a narrative of the nation, a tactic I call disembodiment. 7 In contrast, the films, novels, and performances in this study deliberately emphasize the particular, embodied experiences of artistic subjects as a means of responding to and challenging these previous, generalizing artistic, political, and cultural discourses, an artistic strategy I refer to as strategic displacement. The artistic works in this study portray physical experiences to contest the essentialized body imagery that is a legacy of revolutionary cultural institutions in Cuba and Mexico. Whereas artists such as Diego Rivera and writers such as Miguel Barnet turned bodies into a trope to support authoritative concepts of nation and culture, resulting in disembodiment, Cuban writers Abilio Estévez (1954- ), Ena Lucía Portela (1972- ), Antonio José Ponte (1964- ), and Pedro Juan Gutiérrez (1950- ) and Mexican writers Federico Campbell (1941- ) and Jorge Volpi (1968- ) use physical bodies to explore the ways in which these concepts are lived on a daily basis. These writers, along with Mexican performance artist Astrid Hadad (1957- ) and director Alfonso Cuarón (1961- ), North American director and actor Tommy Lee Jones (1946- ), and Cuban filmmakers Tomás Gutiérrez Alea (1928-1996) and Juan Carlos Tabío create artistic depictions of bodies that contest disembodied generalizations through a focus on the specific, the ordinary, and the lived. This artistic practice, which depends upon a strategic displacement of these earlier, stereotypical representations, acquires particular significance in Cuba and Mexico in the 1980s and 1990s. Produced in a context defined in each country by economic and political instability, the films, narrative fiction, and performance art in my study examine the topics of clandestine abortion, domestic violence, prositution, race, and 8 death to convey the contradictory ways in which elusive concepts of politics and identity become real in the daily lives of their artistic subjects. Instead of creating concepts of identity that buttress abstract ideas about the nation, this recent cultural production focuses on how artistic subjects experience and respond to the material and ideological elements that shape their lives. In these works, the personal is, if not always explicitly political, certainly contestatory. This artistic use of bodies parallels the destabilization of national ideologies that characterizes 1980s and 1990s Cuba and Mexico, as well as shifts in cultural and literary studies that foreground other forms of knowledge production. Rather like the way in which cultural studies asks more questions about how a text creates meaning than about what the definitive meaning of a text might be, the art in this study uses bodies to emphasize how political, cultural, and literary discourses become real by focusing on the experience of these concepts at an individual, embodied level. My use of the term “experience” draws on Joan Scott’s analysis of the concept. She describes experience as “a way of talking about what happened, of establishing difference and similarity, of claiming knowledge that is ‘unassailable,’” yet argues that we must also analyze how this knowledge comes to be (797). Critical concepts of experience can challenge naturalized categories of identity by offering another means of knowing. This idea resonates with Kathleen Stewart’s concept of the ordinary as a bridging of the public and the private. Stewart describes “ordinary affects” as “public feelings that begin and end in broad circulation, but they’re also the stuff that seemingly intimate lives are made of” (2). Similarly, Scott argues that 9 experience is a “linguistic event” that is by definition both collective and individual (793). The artistic subjects in the texts I study connect art to life and language to bodies by illustrating that public discourse—literary, cultural, historical—affects their concepts of self and how they go about their daily activities. Instead of using the public space of artistic expression to speak on behalf of others, the subjects in these works place their own wounded bodies on display as evidence of the harsh conditions under which concepts of identity, culture, and nation play out in Cuban and Mexican societies facing economic globalization
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