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(2010) a Literary Culture in Common: the Movement of Talleres Literarios

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(2010) a Literary Culture in Common: the Movement of Talleres Literarios A LITERARY CULTURE IN COMMON: THE MOVEMENT OF TALLERES LITERARIOS IN CUBA 1960s – 2000s BY MEESHA NEHRU, BA (Hons), MA Thesis submitted to the University of Nottingham for the Degree of Doctor of Philosophy, July 2010 Abstract Emerging organically in the 1960s and soon incorporated into the revolutionary leadership‟s official drive to democratise culture, the Cuban talleres literarios have expanded over the decades into a significant literary movement based on grassroots participation. In 2009, the municipio-based talleres literarios, open to mass participation, engaged over 40,000 talleristas in creating their own literature, with a smaller number involved in more specialised talleres literarios de vanguardia, including the one based within the Centro de Formación Literaria Onelio Jorge Cardoso, a national institution for young writers of narrative fiction. This thesis analyses this unique and under-researched cultural movement by placing it within its historical context and using the notion of Cuban cultural citizenship in order to assess its impact. It contends that the talleres literarios in Cuba, by acting as literary public spheres, have provided a broad range of people with the opportunity to gain and enact cultural citizenship, thus endowing the movement with a political and social significance which has largely been ignored by academic literature. The shared experience of the talleres literarios has formed Cuban cultural citizens who not only are invested in some of the core values of the revolutionary process, but who also have the tools and space with which to participate actively in the construction of meanings. In this way, Cuban cultural citizens formed within the talleres literarios benefit individually through gaining a sense of belonging to, and empowerment in, the literary world, whilst also contributing to the evolution of cubanía revolucionaria and the ongoing negotiation of revolutionary hegemony. The thesis follows the recent work on Cuban culture which rejects the liberal assumptions that the cultural and political spheres should not mix and that civil society and the state are two distinct and oppositional entities. Instead, it uses the conceptual framework of cultural citizenship, which is based on the theoretical premise that culture and politics are inseparable, in order to approach critically the talleres literarios as sites for cultural participation. It offers a detailed history of the movement, from its origins to the present day, as well as an evaluation of the shared experience of talleristas based on the voices of participants from different periods and levels of the movement. By focussing on an outcome of cultural democratisation, the thesis poses a challenge to conventional accounts of revolutionary cultural policy and literature. It argues that cultural policy should be viewed as a productive as well as regulatory force, because the talleres literarios have been instrumental in creating a broad and inclusive literary culture which emphasises dialogic communication and active, public participation. The cultural citizenship attainable in the talleres literarios has provided the initial phase in the literary education of many established writers, fostered personal relationships between them, and facilitated the circulation of diverse ideas. Finally, the notion of cultural citizenship also adds a further dimension to the already broad field of research on participation and political culture. This case study of the talleres literarios follows the approach to participation that views it not in terms of top-down control or achievement of consensus but as a process by which shared meanings are both reinforced and new ones created as society and state interact within institutional frameworks. 1 Acknowledgements It has truly been a fantastic privilege to have been able to dedicate four years to the study of a cultural movement in revolutionary Cuba. I have been both inspired by, and gained enormously from, the chance to develop an insight into the country and a dimension of its unique social experiment. For this opportunity, I am deeply grateful to the Leverhulme Foundation for sponsoring my studentship and to my supervisors Professor Antoni Kapcia and Dr. Parvathi Kumaraswami for having designed the original and fascinating project of which my thesis forms a part. Throughout the process, my supervisors have been a constant source of support; they have given me extremely helpful feedback, been patient at all times and, importantly, have believed in me from the start. I am also very lucky to have been part of the Centre for Research on Cuba at the University of Nottingham, having on my doorstep both an amazing archival resource in the Hennessey Collection and a group with which to share lively debate, discussion, and a passion for all things Cuban. Equally, it has been very enriching to have been part of the wider Cuba Research Forum network, and to have been able to attend its annual international conferences and meetings of postgraduates from across the UK. Altogether, embarking upon research has been a far from isolating experience. I would also like to express my gratitude to the many people that helped me during my fieldwork research in Havana, Cuba. The warmth and openness with which I was greeted there made it an unforgettable time. In particular, I would like to mention José Carlos Vásquez at the University of Havana; Vice Minister of Culture Fernando Rojas; Blanquita, who is especialista literaria at the Consejo Nacional de Casas de Cultura; Ismael González Castañer; Sergio Chaple; Teresita Hernández; Mercedes Melo; Alberto Guerra; Tomasito Fernández Robaina and Ambrosio Fornet. I would also like to thank the staff and students of the Centro de Formación Literaria Onelio Jorge Cardoso, especially Co-Directors Ivonne Galeano and Eduardo Heras León for inviting me to learn about their exciting project. In addition, I owe an amazing four days attending the Encuentro-Debate Nacional de Talleres Literarios Infantiles in Camagüey to the generosity of the Ministry of Culture of Cuba. In general, this thesis is entirely indebted to all of my interviewees who not only gave such rich responses but offered their friendship as well, especially Lien Carranza Lau, Abraham Ortiz, Ahmel Echevarría and above all Yannis Lobaina González who taught me a great deal about Cuban literature and beyond. I am also very grateful for the kindness of my adopted Cuban family, Myriam, abuelita, Borges, Luisito, Yahima and Luis Daniel. Closer to home, I‟d like to thank my family and friends for their understanding, support and company throughout my period as a student. I would particularly like to mention Ben Sweet for the endless phone calls; my Dad; Jean Birrell for offering to be an astute objective reader of my text; my Mum for also being a reader and for being endlessly patient, encouraging and supportive; and Hayley, for keeping me going and never failing to make me laugh. 2 Contents Glossary of Cuban abbreviations and notes on referencing 04 Introduction 05 Mixing Politics and Literature in Cuba: Why Study the Talleres Literarios? PART I: The Historical Context 20 Chapter One 21 Changing the Rules of the Game: Literature, Cultural Policy and the Writer in Cuba 1959-2000s Chapter Two 53 Forming a Society of Active Citizens: The Ethos and Evolution of Participation in Cuba 1959-2000s Chapter Three 94 A Cuban Cultural Citizenship: A Critical Approach to Cultural Participation and the Talleres Literarios PART II: The Study 116 Chapter Four 117 The Expansion of Literary Public Spheres: A History of the Talleres Literarios 1960 – 2000s Chapter Five 167 Cultural Citizens Belonging to a Literary World: The Experience of the Municipal Talleres Literarios Chapter Six 214 Cultural Citizens at the Next Level or the Formation of Future Writers? A Case Study of the Centro de Formación Literaria Onelio Jorge Cardoso Conclusion 243 The Talleres Literarios 1960s-2000s: A Literary Culture in Common Interviews 258 Bibliography 260 3 Glossary of Cuban acronyms UNEAC Unión de Escritores y Artistas de Cuba CNC Consejo Nacional de Cultura ICAIC Instituto Cubano de Arte e Industria Cinematográficos BHS Brigada Hermanos Saíz AHS Asociación Hermanos Saíz UJC Unión de Juventud Comunista OPP Órganos de Poder Popular FAR Fuerzas Armadas Revolucionarias CNCC Consejo Nacional de Casas de Cultura CDR Comités de la Defensa de la Revolución FMC Federación de Mujeres Cubanas FEU Federación de Estudiantes Universitarios Notes on Referencing References to interviews will appear as the name of the interviewee and the date the interview was conducted. For a full list of interviewees please refer to the section Interviews on pg. 258. 4 Introduction Mixing Politics and Literature in Cuba: Why Study the Talleres Literarios? “El desenvolvimiento de la vida literaria en Cuba está tan estrechamente ligado al de la historia política, que se hace imposible disociarlos” Henríquez Ureña in Fernández Retamar, (n.d.). “De los talleres han surgido nombres que han pasado al acervo de la literatura nacional, observándose la promoción de gente nueva, uno de los objetivos más importantes que debe tener la Revolución en cuanto al desarrollo de la literatura” (Hart Dávalos, 1988: 2). “La realización de talleres contribuye…a satisfacer las necesidades del primer nivel de participación poblacional” (CNCC, 2008). In a 1992 speech to Cuba‟s Union of Artists and Writers (UNEAC), Fidel Castro stated: “lo primero que hay que salvar es la cultura” (UNEAC, 1993). Given just
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