IDENTIDADES 1 ENGLISH IDENTIDADES 6 ENGLISH | Page 141

The central axes of their poetics emerge
from
within
an
self-referential
component that implies their own
depository content, to allude to and
understand the identity of the “Other,”
be it an unknown or close, real or
spiritual individual or collectivity.
Conclusions
The work of many creators who take on
religious subjects and the issue of
blackness in contemporary Cuban
society has resulted from various
decades of work possessing diverse
manifestations that proffer a degree of
novel contemporaneity to today’s art in
Cuba. It is almost always a reflection on
issues that signal the colonial and
republican eras, as if these details did not
enjoy the due importance in the era of
globalization and the Internet. The
absence of dialogues regarding all this
has not only impeded any profound
analysis of how prejudice and
discrimination present themselves in
daily life today; they persist even more
than 400 years of silences and
exclusions. Yet, the opportunity to usher
in a different dimension is not
constrained only due to vocation. It is
also necessary to explore these daily
human conflicts within the context of the
conceptual underpinnings of the
philosophical doctrines and liturgical
practices that affirm them.

References
Campos.Pons.María.Magdalena.
Available.at:
http://www.artnet.com/artists/mariamagdalena-campos-pons/news.
Accessed in February 2014.
Fernández, Hamlet. “Apostillas a
Antonia Eiriz y las circunstancias.” In
La Gaceta de Cuba. La Habana:
Ediciones UNIÓN, 2013.
Marrero, Neira “Proyecto de exposición
Jao Moch”. In Catálogo del II Salón de
Arte Cubano Contemporáneo. La
Habana, 1998.
Ribeaux Diago, Ariel.“Ni músicos ni
deportistas”. In Arte Cubano 3. La
Habana, 2000.
Rubiera Castillo, Daisy and Inés María
Martiatu Terry. Afrocubanas. Historias,
pensamiento y prácticas culturales. La
Habana: Editorial de Ciencias Sociales,
2011.

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