The CIA created a covert operation called JM WAVE which was based in South Miami. It's mission was to assassinate [Fidel Castro] and repatriate this area's Cubans back to their land. This undertaking had over 15,000 exiles on it's bankroll and had a budget of over $50 million dollars, which is worth over $350 million dollars in today's market.
African American Research Center, Library, University of Illinois at Urbana-Champaign
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369 p., This title includes discussions of Ernest Hemingway's life and works. Includes Philip Melling's "Cultural imperialism, Afro-Cuban religion, and Santiago's failure in Hemingway's The old man and the sea."
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
230 p., For almost five decades, the United States has maintained a comprehensive economic embargo on Cuba. U.S.-based travel to the island is severely restricted, and most financial and commercial transactions with Cuba are illegal for U.S. citizens. In the 1990s the United States tightened the embargo further, seeking to promote change in Cuba by depriving the Castro government of hard currency revenues. And yet the stalemate remains. This book argues that the embargo has not been particularly effective in achieving its primary goal. The United States has not only been unable to stifle the flow of foreign investment into Cuba but has actually contributed to the recovery of the Cuban economy, particularly from the deep recession it entered following the demise of the Soviet Union.
African American Research Center, Library, University of Illinois at Urbana-Champaign
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270 p., Cuba's geographic proximity to the United States and its centrality to US imperial designs following the War of 1898 led to the creation of a unique relationship between Afro-descended populations in the two countries. Drawing on archival sources in both countries, the author traces four encounters between Afro-Cubans and African Americans.
African American Research Center, Library, University of Illinois at Urbana-Champaign
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251 p., Explores how Juan Francisco Manzano and Gabriel de la Concepcion Valdés (also known as Plácido) appropriated Hispanic literature to inscribe an African descendant subjectivity in 19th century proto-nationalist Cuban discourse. Revises Mary Louise Pratt's notion of "intercultural texts" and Angel Rama's "literary transculturation", proposing "transculturated colonial literature" to trace the contradictions, re-significations, silences and shifts in the aesthetic and ideological function of Manzano and Plácido's texts. As such, 19th century Afro-Cuban literature is analyzed as an active space of negotiation and exchange disputing racial and religious hierarchies to inscribe an Afro-Cuban religio-cultural subject. The author concludes that both Manzano and Plácido disrupted the aesthetic and ideological norms of the colonial status quo by producing the first instance of literary transculturation in Cuba.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
1 DVD (63 min), The Afro-Cuban Big Band Play-Along DVD gives the drummer/percussionist an opportunity to play contemporary Afro-Cuban music in a big band setting. The DVD features play-along tracks (minus the drums), an E-book containing the complete charts and examples demonstrated on the DVD, and bonus tracks of additional tunes from Afro-Bop Alliance.
207 p., Explores the expression of Afro-Cuban identity and its illustration by Afro-Cuban writers and filmmakers within the context of the Cuban Revolution. It answers two questions. First, how does Afro-Cuban artistic expression of Afro-Cuban reality change from the 1970s to the 1990s? and second, how can we reread works from Afro-Cuban writers and filmmakers within the context of the Cuban Revolution in light of the ideological disconnects between Revolution, racial discourse, and artistic expression? To answer these questions the author looks to a diverse group of Afro-Cuban artists who produced groundbreaking works during the 1970s and 1990s. Beginning with Nancy Morejón as an example of a well-known literary figure in Afro-Cuban arts, the dissertation delves deeper into the evolution of Afro-Cuban aesthetics with the cinematic works of Nicolas Guillen Landrian in the 1960s, Sara Gómez and Sergio Giral in the 1970s and finally Gloria Rolando in the 1990s. These are all artists whose work has previously never been considered in concert, but together, their works engage in an interesting dialogue and provide a collective answer to the research questions on which this project is based.
Cuba's rulers, say activists, see the growing dark face of the opposition as "ingratitude" that requires harsher punishment. They point to the case of Black Communist leader Juan Carlos Robinson, sentenced in 2006 to 12 years in jail for "corruption," an offense for which former foreign minister, Roberto Robaina, who's white, was arrested in 2002 but placed under house arrest. [Orlando Zapata Tamayo]'s ordeal is being spun from the other side of the coin, too - the predominantly white and U.S.-based, right-wing anti-Castro opposition who clearly stand to score political points from the case of a Black martyr. Righteous declarations can be expected from organizations such as Democracy Movement, the Cuban American National Foundation, the Cuban Liberty Council and, especially, the Cuban Democratic Directorate. Many Cuban civil-rights activists accuse these groups of working to corral and control the new internal opposition forces on behalf of interests linked to Cuba's former Jim Crow oligarchy. That's why they see U.S. Rep. Lincoln Diaz-Balart's "indignation" over Zapata's death, as much as president Raul Castro's "regrets," as a double farce. A staunch supporter of the tiny; white elite of wealth that was overthrown in 1959, Diaz-Balart can cry crocodile tears, but during his time in Congress his right-wing, proembargo agenda has only hindered the ability of Black Cubans to improve their lot.
