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Looks at portrayals of Havana in literature, music, and the visual arts in the post-Soviet era, as the city is reinvented as a destination for international tourists and business ventures.
In 1994 Cuba, Usnavy begins to question his loyalty to the Cuban government as his family falls apart amidst rising poverty and he learns a family secret behind his one prize: a Tiffany lamp given to him by his mother.
An exploration of Havana's history and its paradoxes: a city where architectural treasures survive among the crumbling tenements; where a vibrant street life takes place amidst shortages; and where revolutionary politics, machismo and a thriving black market co-exist.
"Once one of the most important port cities in the New World, Havana was a model for the planning and construction of other colonial cities. This book tells the story of how Havana was conceived, built, and managed and explores the relationship between colonial empire and urbanization in the Americas. Guadalupe García shows how the policing of urban life and public space by imperial authorities from the sixteenth century onward was explicitly centered on politics of racial exclusion and social control. She illustrates the importance of colonial ideologies in the production of urban space and the centrality of race and racial exclusion as an organizing ideology of urban life in Havana. Beyond the Walled City connects colonial urban practices to contemporary debates on urbanization, the policing of public spaces, and the urban dislocation of black and ethnic populations across the region"--Provided by publisher.
MIT American tourism influx is inevitable in the rapidly 'capitalizing' political context of Cuba. From the 1920's through the 1950's Americans were the dominate tourist on the island. Fast forward to today and Americans account for only about 5% of all visitors. But, this is all about to change. An additional one million American tourists are projected to invade Cuba within the first year the travel ban is lifted. Cuba receives around 2.5 million visitors annually, so this American influx represents a 40% increase in one year. How does a city deal with this type of boom, especially one as unique as Havana? This thesis investigates prototypes for reconstructing both Cubano and tourist habitation in Centro Habana. A combination of Marxist ideals, morbid economy and trade embargo have torn the urban fabric and bUilding stock. Ruin and decay thrive in the Caribbean Metropolis. Roughly 60% of Centro Havana's bUildings are in deplorable condition, and it is said that a bUilding collapses every 3 days. This has created a serious housing shortage as well as an opportunity for future tourism growth. Sites of decay become the vessels for prototypical exploration and thus create a new urban experience for both locals and future tourists. This prototypical approach is applied in 2 key areas, new accommodation typologies as well as experimental reuse of bUilding materials. Notions of how to inhabit the cities decay and blights translate into new typologies of hotels, hostels and micro-hotels. Excess construction debris, prolific in the city today, becomes repurposed as a new medium for material systems. This reuse of brick translates into facade, screen and surface systems that compose a new regenerative typology for Havana.
A devastated capital like Havana has been left to ruin as a result of the 1951 Revolution. The thesis looks at one of the city's theater ruins, the Campoamor Theater, as a site condition. The restoration of the building and its original program, as well as the injection of new programs will provide Havana with a new civic space. While considering the tension and overlapping nostalgias attached to the site, the proposal represents a specific attitude towards dealing with the ruination of an entire city. It is an attempt to manifest hope and allow people to confront and heal from their wounds but plan for a societal renewal.
Guantánamo sits at the center of two of the most vexing issues of US policy of the past century: relations with Cuba and the Global War on Terror. It is a contested, extralegal space. In A New No-Man’s-Land, Esther Whitfield explores a multilingual archive of materials produced both at the US naval base and in neighboring Cuban communities and proposes an understanding of Guantánamo as a coherent borderland region, where experiences of isolation are opportunities to find common ground. She analyzes poetry, art, memoirs, and documentary films produced on both sides of the border. Authors and artists include prisoners, guards, linguists, chaplains, lawyers, and journalists, as well as Cuban artists and dissidents. Their work reveals surprising similarities: limited access to power and self-representation, mobility restricted by geography if not captivity, and immersion in political languages that have ascribed them rigid roles. Read together, the work of these disparate communities traces networks that extend among individuals in the Guantánamo region, inward to Cuba, and outward to the Caribbean, the Americas, Europe, and the Middle East.
Four decades ago, the Cuban revolution captured the world’s attention and imagination. Its impact around the world was as much cultural as geopolitical. Within Cuba, the state developed a strictly defined national and collective memory that led directly from a colonial past to a utopian future, but this narrative came to a halt in the early 1990s. The collapse of Cuba’s sponsor, the Soviet Union, and the end of the Cold War preceded the so- called “Special Period in Times of Peace,” a euphemistic phrase that masked the genuine anxiety shared by leaders and people about the nation’s future. In Cuban Palimpsests, José Quiroga explores the sites, both physical and imaginative, where memory bears upon Cuba’s collective history in ways that illuminate this extended moment of uncertainty. Crossing geographical, political, and cultural borders, Quiroga moves with ease between Cuba, Miami, and New York. He traces generational shifts within the exile community, contrasts Havana’s cultural richness with its economic impoverishment, follows the cloak-and-dagger narratives of revolutionary and counterrevolutionary spy fiction and film, and documents the world’s ongoing fascination with Cuban culture. From the nostalgic photographs of Walker Evans to the iconic stature of Fidel Castro, from the literary expressions of despair to the beat of Cuban musical rhythms, from the haunting legacy of artist Ana Mendieta to the death of Celia Cruz and the reburial of Che Guevara, Cuban Palimpsests memorializes the ruins of Cuba’s past and offers a powerful meditation on its enigmatic place within the new world order. José Quiroga is professor and department chair of Spanish and Portuguese at Emory University. He is the author of Understanding Octavio Paz and Tropics of Desire: Interventions from Queer Latino America.
Fat cigars, big cars, dirty money, vibrant music, intellectual ferment. Havana, since its creation in 1535, has long offered a unique, bewildering mix of the backward and the hip, the seedy and the sophisticated. In many respects, it shares the characteristics of other colonial or post-colonial cities of the Caribbean and Latin America. But at the same time, Havana created its own niche both as an international city and a dynamic national capital. Despite Cuba's fluctuating fortunes, Havana has always managed to thrive and develop its own unique character as an urban, social, economic, cultural and political site. Havana offers a sweeping account of the city and its cultural development, focusing especially on the last two centuries and on the role played by the city's cultural communities in the search for national identity. The author introduces us to a marginal city with roots in the sixteenth century, taking us through the periods when it was a sugar boomtown, pulled between empires, a decadent metropolis, a site of both cultural revolution and relative stagnation during the development of the Revolution to its revival in the 1990s. He looks at the often creative tensions between external influences (especially Spain, France and the United States) and indigenous cultural pressures. Areas covered include architecture, literature, music, dance, cinema and the press. Cosmopolitan playground and nationalist vanguard, Havana has developed its own style while at the same time both reflecting and directing the complicated politics of the whole of Cuba. This book offers a concise introduction to one of the most intriguing cities of the twenty-first century.