Raíces afrocubanasidentidades afrodescendientes en el imaginario colectivo cubano, (1762-1898)

Resumen

The following study presents an analysis of the construction of Afro-descendant identities in Cuba between 1762 and 1898. For this, Afro-descendence is used as an analytical category, object of study and guiding axis of various identity configurations, in such a way that, from the intersectionality of multiple vectors of alterity such as gender, raciality, miscegenation or legal status make possible the analysis of the symbolic framework and representational structure underlying the idea of Cubanness in the proposed context. As for the sources analyzed, they are based on a heterogeneous corpus of iconic vestiges whose visual discourse is reflected in techniques as varied as oil painting, murals, watercolors, round sculptures, woodcut, lithographic or chromolithographic engravings, as well as photographs. daguerreotype and stereographic views. A rich visual culture that finds its graphic support in altarpieces, travel books, records of scientific expeditions, periodical publications such as customs articles, humorous-serious press or daily consumer products such as advertising posters or cigarette labels. In short, a repertoire of iconic vestiges so diverse that they pose the challenge of establishing interpretive models that allow their correct use for the analysis of categorization processes and social perception of differences. The heterogeneity of iconic vestiges therefore entails the implementation of an interdisciplinary methodological strategy, not cumulative but relational that takes analytical tools from various disciplines from the theoretical framework of the social and cultural history of collective mentalities and perceptions. The implemented option is what has been called “critical analysis of visual discourse”. This research is organized into four parts, the first that deals with the conceptual and methodological assumptions of the research and the remaining three generally correspond to two large thematic blocks that make up the research. The first block is titled “Objectualization, corporeality and sacred familiarity: Afro-descendant identities” with a chronology that spans from 1762 to 1808” and the second is titled “Elitism, exoticism and whitening: Afro-descendant identities” with a chronological period that It dates between 1808 and 1898. These four parts are subdivided into several chapters that address the main debates generated around Afro-descendant identities in the visual culture of the proposed period. In such a way that based on the discursivities and counterdiscursivities present in the visuality of the various social agents involved, the main identity constructions that both hegemonic and subaltern groups project and assume in the collective imagination can be extracted.