This article explores the impact of Afrocubanismo on the development of Cuba’s arts during the 1940s and 1950s. The article follows the discursive output of artists, intellectuals, and cultural policymakers of different racial backgrounds over the deployment of lo negro to construct cubanidad. It argues that, if the 1920s and 1930s experienced a movement towards the construction of a homogeneous mestizo Cuba, the following decades reveal an effort by some artists to desyncretize lo cubano. While some intellectuals constructed notions of authenticity that circumscribed black art to black artists, many white Cuban artists in turn embraced elite Hispanic heritage as their main creative language while valorizing some Afro-Cuban artists’ recreations of lo negro. The article also demonstrates that the scholarly debates about cultural appropriation in recent decades have a long history within the Afro-Cuban community. It shows how Afro-Cuban artists and intellectuals pioneered arguments about the exploitative use of lo negro to make national art and the central role of culture in shaping racial inequality.

This essay reviews the following books:

The Cuba Reader: History, Culture, Politics. 2nd ed., revised and updated. Edited by Aviva Chomsky, Barry Carr, Alfredo Prieto, and Pamela Maria Smorkaloff. Durham, NC: Duke University Press, 2019. Pp. xi + 744. $32.95 paperback. ISBN: 9781478003939.

Picturing Cuba: Art, Culture, and Identity on the Island and in the Diaspora. Edited by Jorge Duany. Gainesville: University Press of Florida, 2019. Pp. xii + 320. $35.00 paperback. ISBN: 9781683402091.

The Cuban Hustle: Culture, Politics, Everyday Life. By Sujatha Fernandes. Durham, NC: Duke University Press, 2020. Pp. ix + 184. $24.95 paperback. ISBN: 9781478009641.

Entangled Terrains and Identities in Cuba: Memories of Guantánamo. By Asa McKercher and Catherine Krull. Lanham, MD: Lexington Books, 2019. Pp. xxiv + 188. $90.00 hardcover. ISBN: 9781793602770.

El árbol de las revoluciones: Ideas y poder en América Latina. By Rafael Rojas. Madrid: Turner, 2021. Pp. 302. ISBN: 9788418895029.

Beyond Cuban Waters: África, La Yuma, and the Island’s Global Imagination. By Paul Ryer. Nashville: Vanderbilt University Press, 2018. Pp. x + 240. $39.95 paperback. ISBN: 9780826521194.

Dancing with the Revolution: Power, Politics, and Privilege in Cuba. By Elizabeth B. Schwall. Chapel Hill: University of North Carolina Press, 2021. Pp. xi + 298. $34.95 paperback. ISBN: 9781469662978.

This article compares and evaluates performance of two main current socialist economic-social models. One is Cuba’s central plan characterized by state large enterprises predominant over the market and private property, with mild market-oriented structural reforms that are ineffective in generating sustainable socioeconomic development. The other model is the successful Sino-Vietnamese “socialist market,” typified by small, medium, and some large private enterprises and the market, all predominant under a decentralized plan (a guideline rather than a central plan). In this the state regulates the economy and controls the largest enterprises. The article identifies the characteristics of the three countries, addresses potential barriers to comparison, and summarizes a history of the reforms and their five key economic policies in the three countries. It also assesses performance based on a selection of the twenty most relevant and comparable indicators, elaborates a composite average to rank the three countries, and discusses potential methodological issues. The conclusions summarize the results of the comparison, recommend reforms for Cuba based on successful Sino-Vietnamese policies, and outline the research agenda for the future. The article is an important contribution to the fields of comparative economics systems, socioeconomic development, methodology, and Latin American studies.

Diverse elements have driven inflation in the Cuban economy in the early 2020s, but the big-bang devaluation of the peso in 2021—the key measure that unlocks monetary reform—stands out as the main determinant. Analysis indicates that the inflation rate ranged between 174% and 700%, well above the government’s 2021 consumer price index estimate (77%) and closer to the deflator of household consumption derived from the national income accounts (442%). Even with this larger inflation, there is room for a real depreciation of the peso in the short term. The relative rise of tradable goods prices and incomplete pass-through from the exchange rate to inflation create new incentives and enhance financial transparency in the short term. However, the absence of sufficient structural reforms, the complex macroeconomic scenario, and the persistence of high fiscal deficit, inflation, and devaluation of the peso in the informal market after 2021 put most of the potential benefits of the monetary reform at risk. Monetary instability is a deep, continuing problem.

Taking as a starting point the ontological differentiation between animal and human as a fundamental mechanism of biopolitical violence, I analyze the ambiguity of the imaginaries of flesh and animality in the contexts of revolutionary Cuba and Venezuela. I demonstrate how the dynamics of power marked by an ontological division between human and not human, often ascribed to neoliberalism, paradoxically operate in socialist regimes. I examine several instances of visual arts, performance, literature, and public demonstrations, to reveal, on the one hand, sacrificial state power over the population’s bodies and, on the other, examples of disobedience against the state.

This article explores how the editors and contributors of Revista de Avance formulated an idiosyncratic version of visual modern art and how that discernment shaped their idea of a nationalist and regional culture. Their artistic disquisitions were influenced by complicated political agendas and funding. After the collapse of the Cuban economy in the early 1920s, the magazine’s editors, who held socialist and anti-American imperialist beliefs, looked to Spain as a cultural model. In its pages, the magazine privileged Spanish civilization and conflated it with both European modernist culture and Cuban art and literature. At the same time, Revista de Avance voiced the ideas of the Institución Hispano-Cubana de Cultura, led by Fernando Ortiz.

Exorcismos de esti(l)o is one of Guillermo Cabrera Infante’s least studied books. It is nevertheless of essential importance for understanding the entirety of his poetics. It is a book that condenses the pain of the ostracism and the betrayal inflicted by the revolutionary regime that Cabrera had so strongly supported. The purpose of this article is to highlight the implicit elements of the text that support this hypothesis. It considers the strategies used by the author throughout Exorcismos de esti(l)o to practice the language with which he obsessively tries to draw, in his novelas del yo, a portrait of a lost and unrecoverable Havana, the hopeful Havana preceding the Cuban Revolution. It is an impossible yet obstinate mission. This is why the texts that articulate the impossibility of representation and the anguish that this mission generates deserve special attention.

José Maldonado and Manuel José Castellanos were two Cuban pardo veterans who, in search of military status, rank, and salary, petitioned the court, making arguments that would prove subversive to the racial order. As Maldonado justified his entitlement to rank and Castellanos his to rank or salary, they recovered family narratives dating from when pardo and moreno commandants had enjoyed real power. Under the guise of symbolic recognition, new regulations greatly reduced black militias’ autonomy. These militiamen acted as de facto historians, legal interpreters, and activists during times of institutional and historical change. While they did succeed in recording their families’ past, their petitions for rank and salary were denied.

The Committees for the Defense of the Revolution (CDR) were one of the most important mass organizations in revolutionary Cuba. During the 1960s, the CDR developed a slew of actions among the Cuban masses, organizing cultural, political, and economic activities that shaped the revolutionary process from below. Through their work, the CDR gave meaning to their own idea of Cuban socialism. In the context of revolutionary upheaval, they were born as mass organizations to organize political surveillance against counterrevolutionary enemies. But the CDR also deployed productive power that sought to improve the lives of fellow Cubans. Organizing workers to solve local problems helped to reimagine the purpose of labor as a resource for public utility. For moments, the CDR even became the state. This article highlights the crucial role of the CDR members in the revolutionary process and their impact on the everyday lives of Cuban people.

At a time when Cuban immigrants are seeking political asylum at historically unprecedented rates, most press and scholarly accounts consistently mirror earlier portrayals of Cubans’ mass exodus from the island in one key aspect: they ascribe to refugees a primarily economic reason for their decision to leave and offer little discussion of political factors. To illuminate the need for such analysis, this article examines the Mariel Boatlift of 1980, when approximately 125,000 Cubans, most of them thirty years old or younger, left Cuba. No other exodus of Cubans was more demonized than the Mariel, both by Cuba’s supporters and leadership and by exile opponents of the communist state. Exploring how the intensification of ideological criteria for inclusion in the Cuban Revolution undermined the quality of Cubans’ liberation under socialism prior to Mariel, this article explores state policies and the deep politicization of everyday life and identity. Key political factors explain many young people’s alienation and the degree to which the Cuban state sanctioned and directed extreme measures of repression to discredit those who wanted to leave as lazy, sexually degenerate escoria (human trash).

This essay reviews the following works:

El caso Padilla/The Padilla Affair. Dir. Pavel Giroud. Prod. Lia Rodríguez, Alejandro Hernández. Spain and Cuba, 2022. 78 mins. Distributed by Amazon Prime Video.

Footage of Heberto Padilla’s “confession” recorded by Cuban authorities on April 27 at the National Union of Writers and Artists of Cuba. The footage is available on YouTube.