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Rivera Toro, Quintín. Una Cultura En Llamas ESCUELA DEL DOCTORADO PROGRAMA DE DOCTORADO EN ARTE: PRODUCCIÓN E INVESTIGACIÓN Una cultura en llamas: arte puertorriqueño de resistencia en el siglo XXI de Quintín Rivera Toro Prof. Dorian Lugo Bertrán, Director de tesis y Prof. Juan Bautista Peiró, Director de tesis UNIVERSITAT POLITÉCNICA de VALÈNCIA València, España Diciembre 2019 Rivera !1 DEDICATORIA A mi hija Violeta, para quien escribí esta historia de nuestro País. AGRADECIMIENTOS Debo agradecer, en principio, al Dr. Juan Bautista Peiró, quien desde el comienzo de esta empresa doctoral me acogió y aconsejó sabiamente como solo hace un maestro; al Dr. Dorian Lugo Bertrán, quien, a través de más de dos décadas, ha sido un mentor académico y personal durante momentos complicados de la vida; al Dr. Fernando Paes Carvalho, quien fue el propulsor de mis estudios doctorales, jefe y colega en la Universidad de Puerto Rico, Recinto de Río Piedras. A cada uno de los miembros de mi familia, a Quintín, Enid, Celeste, Flérida y Cristina, porque sin su apoyo y amor diario no hubiese podido terminar esta tesis; a Donald C. Escudero Rivera, por su atención al detalle y profesionalismo académico; y a todas las personas que me han dado la mano, han dicho sí, y han servido como puentes de investigación; a los y las artistas, colegas universitarios, amistades y enlaces que solo el universo sabe por qué llegan a uno. Gracias desde lo profundo del alma. Rivera !1 RESUMEN Una cultura en llamas: arte puertorriqueño de resistencia en el siglo XXI es una investigación cuyo objeto tiene su origen siglos atrás, dado que analiza las circunstancias geopolíticas de la isla de Puerto Rico en el marco de dos imperios diferentes: el de España a partir del siglo XV y el de los Estados Unidos desde el XIX. Este recorrido histórico retrata el sustrato ideológico puertorriqueño, y sienta las bases de la experiencia de subyugación política, militar y social de ese país. La investigación también escudriña y considera una serie de teorías, pensamientos filosóficos y mecanismos de control social que ilustran, desde una perspectiva actual, los problemas existentes con el coloniaje y el patriarcado. Esta tesis aporta nuevos conocimientos, principalmente mediante la reseña y el análisis en profundidad de la producción de un puñado selecto de artistas contemporáneos de Puerto Rico, quienes, a través de la creación de su obra en los años 2000-2018, canalizan contestaciones y soluciones de vanguardia contra el malestar existencial de la psiquis colectiva del país. El arte, ya como afirmación de identidad ya como gesto de resistencia abierta, hace frente de modo inequívoco a dichos sistemas de poder, lo cual se ve reflejado a lo largo de la historia puertorriqueña en el arte y la cultura, desde tiempos precolombinos hasta la contemporaneidad del siglo XXI. Rivera !2 RESUM Una cultura en llamas: arte puertorriqueño de resistencia en el siglo XXI és una investigació l’objecte de la qual té l’origen segles arrere, atès que analitza les circumstàncies geopolítiques de l’illa de Puerto Rico en el marc de dos imperis diferents: el d’Espanya a partir del segle XV i el dels Estats Units des del XIX. Aquest recorregut històric retrata el substrat ideològic porto-riqueny, i posa les bases de l’experiència de subjugació política, militar i social d’aquell país. La investigació també escodrinya i considera una sèrie de teories, pensaments filosòfics i mecanismes de control social que il·lustren, des d’una perspectiva actual, els problemes que plantegen el colonialisme i el patriarcat. Aquesta tesi aporta nous coneixements, sobretot mitjançant la ressenya i l’anàlisi en profunditat de la producció d’un grapat selecte d’artistes contemporanis de Puerto Rico que, a través de la creació de la seua obra els anys 2000-2018, canalitzen contestacions i solucions d’avantguarda contra el malestar existencial de la psique col·lectiva del país. L’art, siga com a afirmació d’identitat o com a gest de resistència oberta, fa front de manera inequívoca a aquests sistemes de poder, la qual cosa es veu reflectida al llarg de la història porto-riquenya en l’art i la cultura, des dels temps precolombins fins a la contemporaneïtat del segle XXI. Rivera !3 SUMMARY A Culture in Flames: Puerto Rican Art of Resistance in the XXI Century, is an investigation with its origins during past centuries, analysing the circumstances of the geo- politics in the Island of Puerto Rico, stemming from two empires, Spain in the XV Century and the United States in the XIX Century. This historic journey, portrays a Puerto Rican ideological substrate, one that establishes the basis of a multi sectorial experience of political, military and social subjugation. This investigation also scrutinises and reflects upon a series of theories, philosophical thoughts and social control mechanisms, all of which illustrate, from a current day perspective, the existing problems with colonialism and patriarchy. This thesis contributes new knowledge, mainly with the reviewing and in depth analysis of the production of a select group of contemporary artists in Puerto Rico, whom through their creative artworks, between the years of 2000-2018, channel answers and solutions of vanguard, against the existential discomfort of the collective psyche of their Country. Art, as an affirmation of identity, as well as a gesture of open resistance, makes an unequivocal front against said systems of power, all of which are reflected throughout their history, art and culture, from pre Colombian up to the contemporary times of the XXI Century. Rivera !4 ÍNDICE EPÍGRAFE 6 PRÓLOGO 8 INTRODUCCIÓN 12 CAPÍTULO 1: PUERTO RICO: BOTÍN DE GUERRA 17 1. La madre España 17 1.1 La forja de un sentimiento rebelde 23 1.2 Impacto transcultural en la identidad boricua 37 2. El padre norteamericano 48 2.1 La fuerza del patriarcado 49 2.2 Eventos claves de la ocupación norteamericana 55 2.3 Impacto social de la ocupación norteamericana 68 CAPÍTULO 2: MECANISMOS DE CONTROL EN LA CONTEMPORANEIDAD 92 PUERTORRIQUEÑA 1. Introducción 92 2. Mecanismo de control I: la economía 96 2.1 El caso de Monsanto 98 2.2 El problema con las ayudas federales 100 3. Mecanismo de control II: la vigilancia 106 3.1 Las carpetas 108 3.2 Las bases militares 110 3.2.1 El caso de Vieques 111 4. Mecanismo de control III: las comunicaciones 114 4.1 La prensa 116 4.2 La era de los historiadores 120 4.3 El problema del transporte 121 4.4 Los medios en masa 125 5. Mecanismo de control IV: el patriarcado 127 5.1 Replantearse el género hegemónico 128 Rivera !5 5.2 El lenguaje masculino 130 5.3 La heteronormatividad isleña 132 6. El mimetismo y su constitución psicológica 138 7. La metáfora del señor de las moscas 141 8. Los puertorriqueños con sus pisos 142 9. De Albizu a Madonna: nacionalismo político versus nacionalismo cultural 152 CAPÍTULO 3: LAS VANGUARDIAS PUERTORRIQUEÑAS Y SUS INFANTES 157 TERRIBLES 1. Introducción 157 2. Marisol Plard 160 3. Myritza Castillo 170 4. Mónica Rodríguez Medina 176 5. Garvin Sierra Vega 183 6. Karlo Andrei Ibarra Delgado 192 7. Colectivo La Puerta 197 8. Danny Rivera Cruz 203 9. Yamcy Leslie 207 10. Dos vanguardistas en profundo: Vanessa Hernández-Gracia y Chemi Rosado 217 Seijo 10.1 Vanessa Hernández-Gracia 217 10.2 Chemi Rosado Seijo 239 11. Michy Marxuach 260 CONCLUSIÓN 263 BIBLIOGRAFÍA 265 APÉNDICE 1: INTERCAMBIO ENTRE QUINTÍN RIVERA TORO Y VANESSA 272 HERNÁNDEZ- GRACIA APÉNDICE 2: ENTREVISTA A VANESSA HERNÁNDEZ-GRACIA 274 APÉNDICE 3: ENTREVISTA A CHEMI ROSADO-SEIJÓ 302 APÉNDICE 4: ENTREVISTA A MICHY MARXUACH 351 Rivera !6 EPÍGRAFE A Julia de Burgos por Julia de Burgos Ya las gentes murmuran que yo soy tu enemiga porque dicen que en verso doy al mundo mi yo. Mienten, Julia de Burgos. Mienten, Julia de Burgos. La que se alza en mis versos no es tu voz: es mi voz porque tú eres ropaje y la esencia soy yo; y el más profundo abismo se tiende entre las dos. Tú eres fría muñeca de mentira social, y yo, viril destello de la humana verdad. Tú, miel de cortesanas hipocresías; yo no; que en todos mis poemas desnudo el corazón. Tú eres como tu mundo, egoísta; yo no; que en todo me lo juego a ser lo que soy yo. Tú eres sólo la grave señora señorona; yo no, yo soy la vida, la fuerza, la mujer. Tú eres de tu marido, de tu amo; yo no; yo de nadie, o de todos, porque a todos, a todos en mi limpio sentir y en mi pensar me doy. Tú te rizas el pelo y te pintas; yo no; a mí me riza el viento, a mí me pinta el sol. Tú eres dama casera, resignada, sumisa, atada a los prejuicios de los hombres; yo no; que yo soy Rocinante corriendo desbocado olfateando horizontes de justicia de Dios. Tú en ti misma no mandas; a ti todos te mandan; en ti mandan tu esposo, tus padres, tus parientes, el cura, el modista, el teatro, el casino, el auto, las alhajas, el banquete, el champán, el cielo y el infierno, y el qué dirán social. En mí no, que en mí manda mi solo corazón, mi solo pensamiento; quien manda en mí soy yo. Tú, flor de aristocracia; y yo, la flor del pueblo. Tú en ti lo tienes todo y a todos se lo debes, mientras que yo, mi nada a nadie se la debo. Rivera !7 Tú, clavada al estático dividendo ancestral, y yo, un uno en la cifra del divisor social, somos el duelo a muerte que se acerca fatal.
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