It belongs to the work my Africa


The first works with influence of the African art appear belatedly in Cuba, if we only count in them to the drawing, the engraving, the painting and the sculpture, that is to say, the traditional techniques. Because next to the first Africans, in their hands and in their hearts, entered the occupation and the talent to build musical instruments, ritual images and cult objects that were expressed with other woods in America, seeds, sonorities and colors and they formed the new voices, the new handmade forms of drawing, to carve, to model, to knit, to adorn and to honor to the gods with liturgical cloths, songs and secret signatures, indispensable in their daily life. It begins this way the miscegenation and the sincretismo, the shared fire sheltering against the challenges, the precarious survival, the resistance to a master that prohibits and punishes the cult to the old gods. In their patio, undercover, the necklaces are threaded, the irokos is adorned, they get ready the remedies. There are drawings and signs that are hidden, legends and patakines that are counted in very low voice that many years will be written later in the school notebooks. There is wemileres of as much as the man requires for the life and the death, for the big fences of America where he knew how to live the black one alone with the nature and with his gods, without the white man: parties and hardships, persistence and faith, being organized, melting, transculturándose in the great ajiaco, in the miscegenation that approaches us and it identifies.

In Cuba, the development of the plastic arts is conditioned by the period of colonization that embraces, like we know, the XVI centuries to the XIX one. Of the Metropolis the ornaments are cared for gift of the wealthy families that here mixed with works of the new American, carried out colonized cultures imitating European models. In the first newspapers of the Island of Cuba announcements of arts and occupations come exercised by Spaniards, Creoles, brown and brown free, this will happen during the XVI centuries to the XIX one. These date historical they allow to define that our first Creole painter was Don Nicolás of the Stairway, in the XVIII century. We would be fixing this way a preliminary fact because it interests us this road , in this mixture of nations and cultures, born s the Cuban art: first vision and it works of dazzled foreigners or enslaved; then function and occupation of Creoles, of Cuban.

We don't seek to tire with the proposal of a history of the art in Cuba, but appreciating how their manifestations arise, they evolve and they reach the contemporary development, integrating in their cosmovisión to the dominant cultures and the resistance cultures or marginal of those dominated, and among them these African cultures; to recognize their elements, their system of conceptual and formal expression through the plastic work. Already at the end of the XIX century references of manners appear in Víctor P. Landaluze paintings, about the life of the black ones in Havana, besides it turns the endowments working in the geniuses, the Party of the Day of Kings and other scenes of the life of the slaves in the engravings carried out in Cuba by Federico Mialhe, Eduardo Laplante and other engravers, in albums and in illustrations for packs, boxes and vitolas of tobaccos and cigarettes.

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