Bianka Ballina.Thesis. Final Draft

Total Page:16

File Type:pdf, Size:1020Kb

Bianka Ballina.Thesis. Final Draft © Copyright by Bianka Lucia Ballina, 2013 All rights reserved Acknowledgements I would like to thank my advisor Professor Ana Lopez for being a vital source of support, advice, and inspiration in my academic development. Her impressive knowledge of Cuban cinema and relationships with some of the most respected members of the Cuban Cinema Studies field made this work possible. I would also like to thank my committee members Professor Jennifer Ashley and Professor Guadalupe Garcia for their help with this thesis and for opening spaces through which I could explore my academic interests. Professor Ashley provided crucial feedback throughout the writing process, always encouraging me to strive for the best. Thanks to Professor Garcia I was able to rediscover Cuba in a way that allowed me to merge my academic interests and personal experience as a “partial” member of the Cuban diaspora. I am also thankful to Professor Mimi Schippers for her comments on parts of this thesis and helping me refine my understanding of the feminist theories that inform my analysis. My appreciation to the Stone Center for Latin American Studies at Tulane University for their support, especially Professor Jimmy Huck and Ms. Barbara Carter. I owe much gratitude to the people and institutions in Cuba that facilitated my research during the summer of 2012. At the Instituto Cubano de Arte e Industria Cinematográficos (ICAIC), I would like to thank those people at the Cinemateca, ICAIC Library, and Muestra Joven who made this research possible. ii Many thanks to the Mediateca at the Escuela Internacional de Cine y Televisión de San Antonio de los Baños (EICTV) for allowing access to their archives. Finally, I would like to say thank you to my family. To my parents for all their support and encouragement. Upon my return from Cuba, they helped me think through my initial confusion by talking to me about our experiences living in Cuba at the onset of the Special Period. To my brothers for being true embodiments of their generations and circumstances. I would also like to thank my colleague Hannagan Johnson for her endless curiosity and providing much needed reassurance as I wrote this thesis. iii Table of Contents Acknowledgements..................................................................................................ii List of Figures.........................................................................................................vi Introduction..............................................................................................................1 1. “No soy un artista ni quiero serlo. Sólo filmo lo que me gusta.” Generational debates and the Emergence of Cine Joven...................................7 Generational Conflicts, Digital Technologies, and Cine Joven...................8 Defining Cine Joven...................................................................................12 Nuevos Realizadores and the Special Period in Time of Peace.................17 Nuevos Realizadores and ICAIC’s Muestra Joven.....................................23 The First Generation of Nuevos Realizadores...........................................25 The Second Generation of Nuevos Realizadores.......................................28 Censorship and the Muestra Joven............................................................31 2. “Lo bueno es que son como la voz esa de ese mundo bajo de Cuba.” Portrayals of Life since the Special Period by Nuevos Relizadores...............42 New Cultural Debates at the Beat of Reggaeton.......................................43 Revolution: Crisis, Duplicity, and Hip Hop...............................................56 El futuro es hoy: Uncertainty, Esplanades, and Old Machines.................62 Cómo construir un barco: Migration, International Politics, and Silent Discontent.................................................................................67 Buscándote Havana: In-Migration, Squatting, iv and the Marvelous Real.............................................................................72 3. “Y te voy a dejar bien claro que no estoy aquí para darte gusto.” Sex, Violence, and Family Relations in Cuba’s Emerging Feminist Cinema..............................................................................................85 Women and Cinema in Cuba......................................................................85 The Emerging Feminist Cinema................................................................92 Tracing Divergent Feminist Interpretations through El grito..................101 4. “Así conocí el amor, no tengo otro modo.” Dangerous Sexualities and Alienation in Cine Joven....................................118 Homophobia and State Policy in Revolutionary Cuba............................121 Gay Cuban Cinema/Cuban Gay Cinema.................................................132 Representations of Homosexuality by Nuevos Realizadores...................135 Exploring the Margins and Beyond.........................................................142 Conclusion...........................................................................................................160 Bibliography.........................................................................................................163 v List of Figures 2.1 AL2 in Maykell Pedrero’s Revolution.........................................................77 2.2 El B in Revolution......................................................................................78 2.3 Los Aldeanos as a symbol of Cuban struggle in Revolution......................78 2.4 Tumultuous waters hit the malecón in Sandra Gómez’s El futuro es hoy..........................................................................................79 2.5 The run-down buildings of Malecón Street in Havana in El futuro es hoy..........................................................................................79 2.6 Lowering the puzzling object in El futuro es hoy......................................80 2.7 Dragging the strange object through the streets of Havana in El futuro es hoy..........................................................................................80 2.8 A man and his ship in El futuro es hoy.......................................................81 2.9 Securing the Tribuna Antiimperialista in El futuro es hoy.........................81 2.10 “Las muchachas que aprendieron a soñar” in Granma from El futuro es hoy.........................................................................................82 2.11 The devastation produced by a rusty machine in El futuro es hoy..........................................................................................82 2.12 The structure of an unauthorized boat in Milena Almira’s Cómo construir un barco...........................................................................83 2.13 A house in a pool in Alina Rodríguez’s Buscándote Havana....................83 2.14 Welcome to Havana, the Capital of all Cubans from Buscándote Havana...................................................................................84 3.1 La piña dancing around her house in Laimir Fano’s Oda a la piña.........113 3.2 Female body as visual center in Oda a la piña........................................113 3.3 “Mira que piña es lo que sobra en este país” from Oda a la piña...........114 vi 3.4 La piña looks back at Rita Montaner in Oda a la piña............................114 3.5 Facing the rhythm of the streets in Oda a la piña....................................115 3.6 The grandmother dreams in Patricia Ramos’ El patio de mi casa...........115 3.7 Dreaming of romance in El patio de mi casa...........................................115 3.8 The housewife’s mercy in Maryulis Alfonso’s Misericordia...................116 3.9 Preparing the deadly meat in Misericordia..............................................116 3.10 Soft lighting sets a romantic environment in Milena Almira’s El grito.....................................................................................................117 3.11 The images on screen materialize the description of rape in El grito.....................................................................................................117 3.12 Reacting to the threat of violence in El grito...........................................117 4.1 Mariposa’s transformation in Jessica Rodríguez’ Tacones cercanos.......150 4.2 One side of Mariposa in Tacones cercanos..............................................151 4.3 A different perspective on Mariposa in Tacones cercanos.......................151 4.4 Another view of Mariposa in Tacones cercanos......................................152 4.5 The elegance of a therapeutic setting in Tacones cercanos.....................152 4.6 Therapeutic setting in Tacones cercanos.................................................153 4.7 Mariposa in public in Tacones cercanos..................................................153 4.8 Mariposa in Fifth Avenue in Taconoes cercanos.....................................154 4.9 Fifth Avenue in Tacones cercanos...........................................................154 4.10 Raúl bathing his mother in Jessica Rodríguez and Zoe García’s El mundo de Raúl.....................................................................................155 4.11 Sleeping with mother in El mundo de Raúl.............................................155 4.12 The power of looking in El mundo de Raúl.............................................156 4.13 Watching the quinceañera rehearsal
Recommended publications
  • Blind Mouth Singing
    Blind Mouth Singing Coco Fusco TDR: The Drama Review, Volume 54, Number 3, Fall 2010 (T 207), pp. 12-17 (Article) Published by The MIT Press For additional information about this article http://muse.jhu.edu/journals/tdr/summary/v054/54.3.fusco.html Access provided by University of Miami (18 Jan 2014 10:55 GMT) Figure 1. Reiderico (Jon Norman Schneider) sneaks out at night, hoping to speak to Lucero (Alexis Camins) who lives at the bottom of the well. Blind Mouth Singing by Jorge Ignacio Cortiñas. Directed by Rubén Polendo. National Asian American Theatre Company, 2007. (Photo by Zack Brown) Blind Mouth Singing PiecesJorge Ignacio Cortiñas introduction by Coco Fusco Art on the Hyphen Theatre, generally speaking, is a politically Goes to the Homeland cautious art form in Cuba. Its dependence on state subsidy makes open dissent extremely Jorge Ignacio Cortiñas takes risky, and the dominance of narrative form and 1 Cuban-American Theatre to Havana naturalistic acting styles facilitate narrow soci- In July of 2010, Jorge Ignacio Cortiñas’s Blind ological readings by those who look for con- Mouth Singing will be produced in Havana. troversy in order to savor or suppress it. Thus, Last staged in New York by the National Asian directors tend to favor palimpsest strategies to American Theatre Company in 2007, this allude to local problems, using foreign plays strange and rarified play will be performed at set in distant times and places as thinly veiled El Sotano (the basement) theatre in El Vedado, allegories about their own context. During the the city’s cultural hub.
    [Show full text]
  • Pitbull FAN TV
    Presents PITTBULL Armando Christian Pérez (born January 15, 1981 in Miami, Florida), better known by the stage name Pitbull, is a Cuban-American rapper signed to his own label, Mr 305 Inc. His first recorded performance was on Lil Jon & The East Side Boyz album Kings of Crunk in 2002, after which he released his debut album, M.I.A.M.I., in 2004. He has since released 2006’s El Mariel, 2007’s The Boatlift and 2009’s Rebelution, which debuted at #8 on the Billboard 200. Pitbull’s breakout hit was the Lil Jon collabo “Culo” produced by Lil Jon & The Diaz Brothers. In addition, Pitbull has also released several mixtapes, the most recent being Unleashed Volume 6, which are mostly composed of freestyles and remixes of popular rap music. Both thematically and musically, the 25-year-old is seen as a modern-day equivalent of earlier Miami rappers such as the 2 Live Crew and Afro- Rican. It was in fact former 2 Live Crew leader Luther Campbell who gave the up and coming rapper his first chance to shine. Apart from Crunk, his album shows clear influences from both Miami bass and freestyle. In addition to his musical work, Pitbull has also been featured in The Source expressing his stance on Dictator Fidel Castro and he was also part of their Unsigned Hype Section. He contributed to an essay published in the New York Post that criticized Che Guevara’s iconization in clothing and other areas. In video games, Pitbull’s hit single “Dammit Man” produced by Jim Jonsin is featured in Midnight Club 3: DUB Edition, and he also plays himself in the upcoming video game based on the 1980’s Scarface.
    [Show full text]
  • Half Title>NEW TRANSNATIONALISMS in CONTEMPORARY LATIN AMERICAN
    <half title>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS</half title> i Traditions in World Cinema General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema Linda Badley, R. Barton Palmer, and Steven Jay Schneider (eds) Japanese Horror Cinema Jay McRoy (ed.) New Punk Cinema Nicholas Rombes (ed.) African Filmmaking Roy Armes Palestinian Cinema Nurith Gertz and George Khleifi Czech and Slovak Cinema Peter Hames The New Neapolitan Cinema Alex Marlow-Mann American Smart Cinema Claire Perkins The International Film Musical Corey Creekmur and Linda Mokdad (eds) Italian Neorealist Cinema Torunn Haaland Magic Realist Cinema in East Central Europe Aga Skrodzka Italian Post-Neorealist Cinema Luca Barattoni Spanish Horror Film Antonio Lázaro-Reboll Post-beur Cinema ii Will Higbee New Taiwanese Cinema in Focus Flannery Wilson International Noir Homer B. Pettey and R. Barton Palmer (eds) Films on Ice Scott MacKenzie and Anna Westerståhl Stenport (eds) Nordic Genre Film Tommy Gustafsson and Pietari Kääpä (eds) Contemporary Japanese Cinema Since Hana-Bi Adam Bingham Chinese Martial Arts Cinema (2nd edition) Stephen Teo Slow Cinema Tiago de Luca and Nuno Barradas Jorge Expressionism in Cinema Olaf Brill and Gary D. Rhodes (eds) French Language Road Cinema: Borders,Diasporas, Migration and ‘NewEurope’ Michael Gott Transnational Film Remakes Iain Robert Smith and Constantine Verevis Coming-of-age Cinema in New Zealand Alistair Fox New Transnationalisms in Contemporary Latin American Cinemas Dolores Tierney www.euppublishing.com/series/tiwc iii <title page>NEW TRANSNATIONALISMS IN CONTEMPORARY LATIN AMERICAN CINEMAS Dolores Tierney <EUP title page logo> </title page> iv <imprint page> Edinburgh University Press is one of the leading university presses in the UK.
    [Show full text]
  • BIOGRAPHY from Mr. 305 to Mr. Worldwide, Armando Christian
    BIOGRAPHY From Mr. 305 to Mr. Worldwide, Armando Christian Perez, aka Pitbull, rose from the streets of Miami to exemplify the American Dream and achieve international success. His relentless work ethic transformed him into a Grammy®-winning global superstar and business entrepreneur. Along the way, he’s been the subject of specials for CNBC, CNN, CBS, NBC, ABC and more, in addition to appearances on Empire, Shark Tank and Dancing with the Stars. His music has appeared in Men In Black III and The Penguins of Madagascar, and he even had a starring voiceover role in the animated 3D movie Epic. Pitbull releases his tenth full-length album, Climate Change [Mr. 305, Polo Grounds, RCA Records], on October 28, 2016, after wrapping his second headlining arena run – The Bad Man Tour, named after the Climate Change hit single featuring – and performed on the 2016 Grammy Awards with – singer Robin Thicke, Aerosmith guitarist Joe Perry and Blink 182 drummer Travis Barker. Climate Change also includes the singles “Messin’ Around feat. Enrique Iglesias,” and “Greenlight feat. Flo Rida & LunchMoney Lewis,” both of whom also appear in the Gil Green-directed video filmed in Miami. Climate Change features many other superstar and burgeoning musical guests: Jennifer Lopez, Prince Royce, Jason Derulo, Stephen Marley, R.Kelly, Austin Mahone, Leona Lewis, Kiesza, Stephen A. Clark and Ape Drums. Landing # 1 hits in over 15 countries, 9 billion YouTube/VEVO views, 70 million single sales and 6 million album sales, Pitbull does not stop. His social networking channels include 59 million likes on Facebook (@Pitbull), 22 million followers on Twitter (@Pitbull) and 4 million followers on Instagram (@Pitbull), plus more than 8 million subscribers on YouTube (PitbullVEVO and PitbullMusic).
    [Show full text]
  • Know Before You Go
    Know Before You Go HAVANA A Guide to Keep You Safe Abroad provided by: Pathways to Safety International October 2019 KNOW BEFORE YOU GO: HAVANA, CUBA 2 Let’s be perfectly clear, the number one way to prevent sexual assault is to not rape. While the responsibility of ending sexual gender based violence is on the perpetrators, this guide will offer general safety tips, country-specific information, and resources to help prevent and prepare travelers for the possibility of sexual assault abroad. GENERAL SAFETY TIPS: 7 out of 10 1. Use the buddy system and travel with friends or people you trust. rapes are 2. Be aware of social and cultural norms. For example, looking at someone in the eyes committed when you speak to them is perfectly normal in the U.S., but in another country that by someone could signify you’re interested in the person. known to the victim1 3. Recognize controlling behavior when entering a relationship. Most rape survivors recall feeling “uncomfortable” about some of their partner’s behaviors such as degrading jokes/ language or refusal to accept “no” as an answer, whether in a sexual context or otherwise.2 4. Avoid secluded places where you could be more vulnerable. Meet new people in public spaces and let a trusted friend know where you’ll be beforehand. Always have a backup plan in mind. 5. Trust your gut. Many victims have a “bad feeling” right before an assault takes place. It’s okay to leave a situation that is making you feel uncomfortable. Stay alert and aware in new places and social settings.
    [Show full text]
  • The Normalization of Sexual Diversity in Revolutionary Cuba ! by Emily J
    THE NORMALIZATION OF SEXUAL DIVERSITY IN REVOLUTIONARY CUBA ! BY EMILY J. KIRK, BA (Hons), MPhil ! ! ! Thesis submitted to the University of Nottingham for the Degree of Doctor of Philosophy April 2015 ! ! 2 This thesis is dedicated to John and Margo Kirk and Yvonne and David Childs Thank you for everything"! ! ! ! ! ! ! ! ! ! ! ! ! ! ! 3 Acknowledgments Above all, I would like to thank my PhD supervisor Tony Kapcia, who has been invaluable throughout this process. I came to Nottingham specifically for the privilege of working with him, and he exceeded all possible expectations. He is not only a brilliant and talented academic, but also a wonderful person from whom I have learned a tremendous amount. Thank you for putting up with me, Tony. I could not have done any of this without you. In addition, Stephen Roberts was an integral contributor to the thesis process. Thank you very much for agreeing to help this project come to fruition. Your insight, effort, and kindness were critical to this work. I would also like to thank CENESEX and its wonderful staff. It has been a great honour working with a Centre that undertakes such important work. Thank you for allowing me the opportunity to study your remarkable work, and for helping me throughout the process. The dedication, compassion, creativity and intelligence that the Centre employs in its many valuable areas of work are exceptional. In particular I would like to thank Mariela Castro Espín, Ramón Rivero Pino, Yasmany Díaz Figueroa, Rosa Mayra Rodríguez Lauzurique, Manuel Vazquez Seijido, Ana María Cano López, Alberto Roque Guerra, Ada Alfonso Rodríguez, Marta María Ramírez, Pedro Pablo Valle Artiz, as well as the FMC’s Carolina Aguilar Ayerra.
    [Show full text]
  • Cuba: Travel Regulations and Civil and Political Rights, August 2017
    BEREICH | EVENTL. ABTEILUNG | WWW.ROTESKREUZ.AT ACCORD - Austrian Centre for Country of Origin & Asylum Research and Documentation Cuba: Travel Regulations and Civil and Political Rights COI Compilation August 2017 This report serves the specific purpose of collating legally relevant information on conditions in countries of origin pertinent to the assessment of claims for asylum. It is not intended to be a general report on human rights conditions. The report is prepared within a specified time frame on the basis of publicly available documents as well as information provided by experts. All sources are cited and fully referenced. This report is not, and does not purport to be, either exhaustive with regard to conditions in the country surveyed, or conclusive as to the merits of any particular claim to refugee status or asylum. Every effort has been made to compile information from reliable sources; users should refer to the full text of documents cited and assess the credibility, relevance and timeliness of source material with reference to the specific research concerns arising from individual applications. © Austrian Red Cross/ACCORD An electronic version of this report is available on www.ecoi.net. Austrian Red Cross/ACCORD Wiedner Hauptstraße 32 A- 1040 Vienna, Austria Phone: +43 1 58 900 – 582 E-Mail: [email protected] Web: http://www.redcross.at/accord TABLE OF CONTENTS 1 Travel regulations .................................................................................................................... 4 1.1 Implications of the change in political relations with the United States and migratory patterns ........................................................................................................................................ 4 1.1.1 Consequences of the abolition of the “Wet foot-Dry foot” policy ............................ 4 1.1.2 Government control measures towards the population ........................................
    [Show full text]
  • Zoé Valdés and Mayra Montero a DISSERTATION SUBMITTED TO
    (Em)bodied Exiles in Contemporary Cuban Literature: Zoé Valdés and Mayra Montero A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Sarah Anne Miller Boelts IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Luis A. Ramos-García, Adviser June 2010 © Sarah Anne Miller Boelts, June 2010 Acknowledgements I would like to thank my adviser, Professor Luis Ramos-García, for his consistent support and encouragement from the beginning of this project. My other committee members, Ana Forcinito, Raúl Marrero-Fente, and Patrick McNamara have also been instrumental in this process. A special thank you goes to Zoé Valdés and Mayra Montero who so graciously invited me into their homes and shared their lives and their literature. It is my goal for their voices to shine through in this project. I do agree with Valdés that we are all “bailando con la vida,” in “este breve beso que es la vida.” Also, crucial to my success has been the unwavering presence of my Dissertation Support Group through the University of Minnesota Counseling and Consulting Services. Our biweekly meetings kept me on track and helped me to meet my goals while overcoming obstacles. I have learned more from this group of people than I could ever give back. I would be remiss if I did not thank my high school Spanish teacher, Ruth Lillie, for instilling a love of languages and cultures in me. Her continuous interest and passion for the Spanish language and Hispanic culture influenced me greatly as I continued with my college studies and study abroad opportunities.
    [Show full text]
  • Dance & Theater 28 Literature 29 Painting 31 Cinema & Television 32
    © Lonely Planet Publications Arts Dance & Theater 28 Literature 29 Painting 31 Cinema & Television 32 Arts Far from dampening Habana’s artistic heritage, the Cuban revolution actually strengthened it, ridding the city of insipid foreign commercial influences and putting in their place a vital network of art schools, museums, theater groups and writers unions. Indeed, Cuba is one of the few countries in the world where mass global culture has yet to penetrate and where being ‘famous’ is usually more to do with genuine talent than good looks, luck or the right agent. Despite the all-pervading influence of the Cuban government in the country’s vibrant cultural life, Habana’s art world remains surprisingly experimental and varied. Thanks to generous state subsidies over the past 50 years, traditional cultural genres such as Afro- Cuban dance and contemporary ballet have been enthusiastically revisited and revalued, resulting in the international success of leading Cuban dance troupes such as the Habana- based Conjunto Folklórico Nacional (p139 ) and the Ballet Nacional de Cuba. Much of Cuba’s best art is exhibited in apolitical genres such as pop art and opera, while more cutting-edge issues can be found in movies such as Fresa y Chocolate, a film that boldly questioned social mores and pushed homosexuality onto the public agenda. DANCE & THEATER Described by aficionados as ‘a vertical representation of a horizontal act,’ Cuban dancing is famous for its libidinous rhythms and sensuous moves. It comes as no surprise to discover that the country has produced some of the world’s most exciting dancers. With an innate musical rhythm at birth and the ability to replicate perfect salsa steps by the age of two or three, Cubans are natural performers who approach dance with a complete lack of self- consciousness – something that leaves most visitors from Europe or North America feeling as if they’ve got two left feet.
    [Show full text]
  • UC San Diego UC San Diego Electronic Theses and Dissertations
    UC San Diego UC San Diego Electronic Theses and Dissertations Title (Re) framing the nation : the Afro -Cuban challenge to Black and Latino struggles for American identity Permalink https://escholarship.org/uc/item/5pb0h077 Author Gosin, Monika Publication Date 2009 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA, SAN DIEGO (Re) Framing the Nation: The Afro-Cuban Challenge to Black and Latino Struggles for American Identity A Dissertation submitted in partial satisfaction of the Requirements for the degree Doctor of Philosophy in Ethnic Studies by Monika Gosin Committee in charge: Professor Ana Celia Zentella, Chair Professor Charles Briggs Professor Raúl Fernández Professor Daniel Hallin Professor Sara Johnson Professor Jane Rhodes 2009 Copyright Monika Gosin, 2009 All rights reserved. The dissertation of Monika Gosin is approved, and it is acceptable in quality and form for publication on microfilm and electronically: ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ ____________________________________________ Chair University of California, San Diego 2009 iii TABLE OF CONTENTS Signature Page………………………………………………………………………....…iii Table of Contents………….…………………………………………………....………...iv List of Graphs and Tables….……………………………………………...………….…...v Acknowledgements………………………………………………………...……..………vi
    [Show full text]
  • CP-2015 Queens HAV Handbook
    Queens University of Charlotte in Mission Statement The mission of Spanish Studies Abroad (The Center for Cross-Cultural Study or Spanish Studies Abroad) is to promote in-depth understanding of Spanish-speaking countries for our students, through specifically designed academically rigorous university- level and cultural travel programs. We consider all of our students to be willing to cross cultural boundaries, to live as members of another culture, and to thus learn about others as they learn about themselves. In accordance with our mission, Spanish Studies Abroad promotes equal opportunities within our programs and does not discriminate on the basis of an individual’s race, religion, ethnicity, national origin, age, physical ability, gender, sexual orientation, or other characteristics. We believe in educating students on cultural tolerance and sensitivity, acceptance of differences and inclusiveness. Preparation For Departure We are sure you are excited about your experience abroad, but before you depart, there are a few things you need to take care of. Please read carefully! PASSPORT Your passport must be valid for six months after your return from Cuba. Once you have verified that your passport is valid and in order, make three color photocopies of it. The copies of your passport are important for two reasons: first, as a back-up in case your passport is lost or stolen (keep a copy separate from your passport), and second, as your daily identification. You should keep the passport itself in a secure place, such as the hotel safe, and carry only the photocopy as identification. We recommend that you leave one copy of your passport with your parents or a friend in the U.S.
    [Show full text]
  • Jorge Perez-Lopez
    LOS MARIELITOS OF 1980: RACE, CLASS, GENDER, AND SEXUALITY Silvia Pedraza Since the flow of Cuban refugees had halted for of age during the late 1960s or the 1970s. Also, the many years, few expected the chaotic flotilla exodus proportion non-white was visibly higher than ever in 1980. It began when six desperate young men before. According to Juan Clark (1992), non-whites drove a bus past the guards, straight into the Peruvi- constituted from 20 to 40 percent of the Marielitos. an Embassy compound, asking for political asylum. Clearly for this wave of young people, comparisons A few days later, on April 4, 1980, Fidel Castro an- with the years of Batista could no longer serve to pro- nounced the unusual decision to leave the embassy mote the consent of a generation that could scarcely unguarded, and to allow those who wanted to leave remember them. Cuba. Within days it grew massive: over 10,000 per- Moreover, during these years, problems of freedom sons crowded into the compound. When this acute of expression became particularly acute for artists and refugee exodus ceased the following September, it intellectuals. A key incident was that sparked by He- had brought close to 125,000 more Cubans to Amer- berto Padilla’s prize-winning poetry book expressing ica, approximately 18 percent of all Cuban immi- the marginality of those who lived Fuera del Juego— grants that had arrived until 1990. This wave lacked Outside of the Game (1998 [1968]). Moreover, devi- order and process. From Miami, thousands of boats ance, particularly homosexuality, was scorned and manned by relatives sped across the 90 miles of sea to dealt with by imprisonment.
    [Show full text]