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Geographies and Cultural Production of the Cuban Velvet Exile in Contemporary Spain

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Geographies and Cultural Production of the Cuban Velvet Exile in Contemporary Spain A Trans-Atlantic Encounter—Special Period Migration and La Nueva España: Geographies and Cultural Production of the Cuban Velvet Exile in Contemporary Spain by Jessica Piney A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Romance Languages and Literatures: Spanish) in The University of Michigan 2011 Doctoral Committee: Associate Professor Lawrence M. La Fountain-Stokes, Chair Professor Enrique García Santo-Tomás Professor Cristina Moreiras-Menor Associate Professor Jesse E. Hoffnung-Garskof Para mi madre y mi abuela—inseparables las tres. Desde el Cielo, lo han hecho todo posible. E.P.D. 5/11 ii Acknowledgements My gratitude towards all the people, places, sights and sounds that have made this project a reality cannot be properly expressed with a simple thank you but with this humble phrase I express my upmost sentiment of agradecimiento. I thank the University of Michigan’s Department of Romance Languages and Literatures for all their support throughout these years. Alejandro Herrero-Olaizola is responsible for the vision of this dissertation and I am grateful for his patience and his support throughout its development. To my committee members Cristina Morieras- Menor, Enrique García Santo-Tomás and Jesse Hoffnung-Garskoff (American Culture), I am humbled by your reception of the project and thank you for such insightful comments and suggestions for its improvement. To my director, Larry La Fountain-Stokes, I have no words. More than a professor, you are an inspiration and a model of unwavering allegiance to your work and your students. You are a miracle worker and I am still in awe of my fortune to have had your guidance in the completion of our project. Olga Gallego and María Dorantes, I thank you for having taught me the fundamentals of being an educator in the language classroom. Your advice and example have been key to my pedagogical development. Frank, thank you for mentoring me while in Spain. Mindy, Sarah and Linda, thanks for helping me keep my sanity through laughter and for your words of encouragement. I am grateful for my fellow graduate students for the stimulating discussions and the impromptu gatherings that made grad school iii memorable. Dani, gracias por el positivism y el ejemplo de cómo ser productivo. Roberto, Javi—I loved reliving my days in Spain through our conversations, tíos. Cafecito Wells, never a dull moment with you. Talía Dajes and Fernando Velázquez, my Peruvian buddies in crime, what would I have done without you? Los quiero pe. To the notorious Caribbean clan—Billy, Danny, Mariam, Radi, Cristina, and Larry—thank you for making me feel at home in Ann Arbor. Jossianna, your absence was felt but your warmth stayed behind and I am grateful for our exchanges. Others I cannot overlook at the University of Michigan are Valerie at the Center for the Education of Women, Lou Lou at the Sweetland Writing Center and of course The Rackham Graduate School for funding my research ever so generously. I am thankful to the Office of Study abroad for allowing me the opportunity to work with students in the Salamanca Summer Program for 4 years, doing what I love. To the Cuban community on campus—Ruth, Silvia, Danny V., Lucía, and Pedro Gómez, Pedro Porbén, and Jordi— our roots brought us together despite life’s routes. Thank you for a glimpse of cubanía in its variants and for sharing your work. To my MSALSA family, my sincere gratitude for the dances and the laughs—they have completed me in many ways. I am grateful for the paths that have been carved out for me in this lifetime. Washington Heights, Miami, Michigan, Madrid, and its people are all worthy of thanking for helping me understand the world as I do and to constantly seek to interpret its’ ways. I thank all the artists, academics, and subjects who lent me their valuable time in the research phase of this project, from those in Havana to those in Madrid. It is impossible to capture the magic of your stories but I did my best amidst the boomerang effect. To the institutions, including the ICAIC (Havana) and the FHC (Madrid), that iv allowed me access to their archives—animate and inanimate alike—my most sincere thanks. To my alma mater, NYU, thank you for believing in me. Had it not been for the opportunity to pursue my Master’s degree in Madrid this project may not have been a reality. Anjouli, you continue to be my idol, guapa. Jon had it not been for you, I would not have applied to Michigan. Gracias por hablarme ese día en el patio del chalet, tío. To my colleagues at Colby College, thank you for helping me make the transition into the teaching world and for showing me such unprecedented support. Jorge Olivares, my padrino, Lola Bollo-Panadero, my madrina, los adoro. Emma, thanks for the sisterly solidarity. Betty, Luis, Barbara, thank you for the guidance. I thank Dr. Fuentes for fostering a love of Spanish literature in my high school days as well as Nery and those at NJCU and HCC, especially Figueras, who allowed me to take the first crack at language teaching. To my students at five institutions over the past decade, thank you for the lessons you have taught me and for challenging me to give you my all in the classroom. You have all made this career worth the struggles. I am eternally grateful for the support of my friends who have made me out to be invincible throughout my life. The road was rocky and the distance great but Becca, my barnacle, Mar Mar, Joy, and Enid, your stolid faith in me gave me strength to pull through. Adrianne, you made it happen, and I am so thankful. A special thank you to the talented Enrique Del Risco who lived through the Madrid of the 1990s and has graciously brought me into that world. I am grateful for your insight and the conversations. Me has sorprendido en tu complicidad. v I am grateful to the families that have taken me in as their own, showing me love when I most needed it. Erika, Paty and Goose, thank you for your support. Primo (Cisco) thanks for believing in me y baina. Kelly, thanks for listening and seeing me through the end of it all. To my Café Habana family, without you and the memorable Thursdays I would not have survived the Ace Deuce. Mayra and family, thank you for the blessings and the prayers. Purita, thanks for your motherly ways. Maggie, Santica and family, thanks for always including me. Grace, gracias por hacerme sentir en familia en Madrid. My immediate family, small as it may be, is a strong one. Cuca and Cheo, thank you for putting up with Fefa’s exigencies when in Miami over the years and for simply being there for me. Son mis hermanos del alma. Andrés, you have always been my rock and have always believed in me. I will always love you for it. I thank my father for fostering such a love for my Cuban roots and for bringing me into a world I could only have known through his eyes. I thank him for his unconditional support even when the tide was against us. “Hasta la victoria siempre” he made me promise, and here it is, thanks, in part to Abuelo Piney whose spirit abrió el camino. Pónle el cuño que es Aragón. For my mother whose absence has conditioned my being, thank you for leaving me in such good hands and making sure I was all you wanted me to be, contra viento y marea. I thank my grandfather, Tata, for making me appreciate my Asturian heritage. Ser español es un orgullo, pero asturiano es un privilegio. I take up my Cruz de la Victoria with pride. To my grandmother, I owe it all to you. Thank you for selflessly raising me and making me the strong woman I am today. Your sacrifices were not in vain, Nana. You are forever in my heart and in everything I do. Eres mi corazón. To my cubanos worldwide, thank you for keeping our culture alive. Aché. vi Table of Contents Dedication………………………………………………………………………………..ii Acknowledgements……………………………………………………………………...iii List of Figures………………………………….................................................................x Abstract…..……………………………….…..…............................................................xii Introduction…………...…..................................................................................................1 Chapter 1. Of Post-Colonial Times and Neo-Colonial Ties: ‘Colonialities of Power’ and Regaining What Was Lost in Cuba........................................................................17 Regaining What Was Lost in Cuba………………………………………37 Cubans Come Home: A Colonial Diaspora’s Return to the Metropole.…46 2. Our Places, Their Spaces: Cubanized Madrid...................................................65 In The Heart of Madrid: Commercialized Cuban Spaces. La Negra Tomasa …………………………………………………………………..71 More Mammies: Mamá Inés, Mamá Francisca, and La Colonial……....82 Rumbo norte (en Madrid): Cuban Exilic Space………………………….91 At A Crossroads: Exile Politics and Spanish Policies Toward Cuba……99 Exiles United……………………………………………………………110 The Cuban Spatial Ajiaco: Blending Gathering and Artistic Spaces a lo cubano. At Home in Madrid: Pilar and El Bar Yemayá………………..119 vii La Latina’s Urban Palimpsests: Lechería Turned Cuban Social Space……………………………………………………………………130 Lechería Turned Cuban Gallery Space………………………………....138 The Image in Imagine: Bar Yemayá Promoted…………………………144 3. Cubans Seen, Cubans Heard: The Boom of Cuban Music in Spain................152 A Long Musical Journey………………………………………………..159 Orishas In The Mix: Constructing Afro-Cuban Identity………………..165 Orishas: Trans-Atlantically Rapping…………………………………...172 Bourdieu’s Capitals……………………………………………………..178 Trans-Porting Their Cuban Aché: Orishas Trans-Atlantic………….….181 Spanish Peninsula Afro-Cubanized…………………………………….204 Orishas: A New Musical Chapter………………………………………208 Habana Abierta: Rocking To The Cuban Diasporic Experience…….…209 Habana Abierta’s Boomerang Effect…………………………………...211 Not Rocking To That Tune: The Politics of Music…………………….216 The Sounds Of Change(s)………………………………………………219 4.
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