Identidades in English No 4, December 2014 | Page 84

(FCBC) and the Asociación Cubana de Artesanos
Artistas [Cuban Association of Artisanal Artists]
(ACAA). One could already see a diversity of
content in Cuban art that problematized the artistic scene and shook “officialdom’s” foundations
during its conflicts with the plastic artists of the
1980s.
Some have rejected the Antillean group because
it both overemphasizes race and religiosity, and is
characterized by Afro-Cuban, cultural and spiritual connection and connection with things artisanal. After its last showings, in 1983, the truth is
that Antillano group went on to become a forgotten cultural movement within the visual arts, despite the fact it articulated a view of culture that
privileged the importance of Africa and the black
Caribbean in the formation of the Cuban nation.
(Figures 7a, 7b, 7c, 7d).
Fig. 7b.Herminio Escalona. 1997 N/T.
Asamblage. Wood and bronze

Fig. 7a. Rafael Queneditt. 1985 N/T
Asamblage. Wood and copper

Fig. 7c.Ramón Haití. 1978.
“El Gran Güije” [The Great Güije].
Wood cut

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Fig. 7d. Rogelio Rodríguez Cobas. 1978.
“Musical Instrument”.
Wood cut