SIUE Choir Performance Group travels to Cuba

The SIUE Choir Performance Group traveled to Cuba in November 2011. The choir participated in the international choral festival and was the only U.S. choir in attendance. By all accounts performances by the choir were a great success, and the students involved certainly had a wonderful academic experience that they will remember for a lifetime.


THE LOST GAZE: CUBA 1970-1984

The overhelming attention offered by the international massmedia over the “cool” and epic side of the Cuban Revolution images (Korda,Corrales, Noval, Salas) has overshadowed the neorrealistic documentary vision that appeared one generation later at home.

“THE LOST GAZE: CUBA 1970-1984” is the first survey ever done about the forgotten photographic memory produced in the island during one of its decisive historical moments. This exhibition was produced after a long research on artists and estate collections, the first hand work with the contact sheets, the exhibition catalogues and the original negatives, printed for the first time after four decades of dust and silence.


SMALL MANEUVERS: BODY AND EROTICISM IN CONTEMPORARY CUBAN PHOTOGRAPHY

Small Maneuvers: Body and Eroticism in Contemporary Cuban Photographs proposes an exclusive selection of four photographs and forty-five contemporary images created on the island focused around the body like a photographic object and active symbols to produce and stimulate the senses.


"PROMISED LAND: JEWISH STORIES IN CUBA”

The exhibition "Promised Land: Jewish Stories in Cuba" is a exhibition based on the documentary research made by the outstanding Cuban photographer Humberto Mayol (Havana 1955) on the living presence of Jewish community  in Cuba. The serie started as a commission for the book "An Island called Home," by Cuban American and Jewish anthropologist Ruth Behar. After several years of work and journeys across the island, Mayol´s images authentically approaches and shows those longings, memories, rituals and assimilatory processes held in one of the most invisible historical cultures in the current Cuba.


ARCHITECHURE, UTOPIA AND COLD WAR: THE CUBAN PAVILION AT THE WORLD FAIR MONTREAL 67

Architecture, Utopia and Cold War: The Cuban Pavilion at the World Fair Montreal 67 is the first exhibition of one of the mythical monuments in the history of the Architecture of the Island. Created between 1965-1967 by an interdisciplinary team who included renowned architects and city planners, visual artists, musicians, Cuban cinematographers and outsiders who worked in Cuba, the Pavilion should represent the profits of the Cuban Revolution, its culture and economy, in the world fair of Montreal in the year 1967, in the middle of the fierce political and economic competition between the superpowers: the Unites States and the Soviet Union, also representatives of their respective pavilions. The Cuban Pavilion expresses the heterodox independence of the Island of the Caribbean in front of both blocks, the concepts about the revolutionary left carried out by Cuba like the advances in the construction and urban revolutionaries, the human and social development in the country. This was an irrevocable symbol of a possible utopia. Still it has not occurred the “Spring of Praguafter nor after the death of Che Guevara.


WHEN THE REVOLUTION WAS YOUNG:A CUBAN VIEW BY DEENER STRYKER

When the Revolution was Young, a Cuban view by Deena Stryker” is the first exhibition ever held about the intimate portrait of the Cuban Revolution took by the Paris Match reporter Deena Stryker during her two trips to Cuba, from July 1963 to July 1964. Along with artists as Cartier-Bresson, René Burri, Marc Riboud, Agnes Vardá, Deena´s graphics and written testimonies are featured as one of the most interesting visions of the post Castro process offered by the foreign visitors of the decade. But her’s have never received detailed attention. Deena had a closer access to the main leaders of the Revolution and members of the revolutionary government at work and relaxing. She also left impressive unglamorous records of the life in rural Cuba, farms, development projects, and schools. Other photographs chronicle life in Havana, including Carnaval, as well as the Cuban countryside, particularly the Sierra Madre and Isla de Turiguanó, Bayamo, Camagüey, and Guamá, documents the damage to cane fields and villages in rural Cuba in the aftermath of Hurricane Flora in late 1963


TITON, BACK ON MY STEPS

“Titón, Back on my Steps” is the first exhibition to be seen outside of Cuba about Tomás Gutiérrez Alea (1928-1996), the most recognized director of Cuban Cinema, author of films such as "Memorias del Subdesarrollo" (Memories of Underdevelopment) (1968), considered one of the most important films of Latin American Cinematography, "Fresa y Chocolate" ((\Strawberries and Chocolate) (1994), an Academy Award nominee, "La Muerte de un Burócrata" (Death of a bureaucrat) (1966), "La Última Cena" (The Last Super) (1976), "Los Sobrevivientes" (The Survivors) (1978), “Guantanamera" (1995), and documentaries (Esta Tierra Nuestra, Asamblea General, Muerte al Invasor, El arte del tabaco) (Our Earth, General Assembly, Death to the Invader, and The Art of Tobacco)


HEROES AND ANTI-HEROES, THE CUBAN COMICS OF THE 1960's

The 1960’s in Cuba still have multiple unexplored areas. Beyond television images of the rebels of Fidel Castro arriving victorious to Havana in 1959, the voice of John F. Kennedy announcing the beginning of the Cuban Missile Crisis or the photo of Che Guevara, lying without life in a rustic area in Bolivia, the artistic and cultural creation in Cuba hopes for the recognition of its contributions to modern Latin America, and beyond the rigid condition of politics that included everything


CUBAN REALITY SEEN FROM AN AMERICAN CULTURAL AND SCIENTIFIC PERSPECTIVE

Panel discussion at the Latin American Studies Association (LASA) annual meeting in San Francisco, 23-26 May 2012. American academics have developed a unique view of Cuban reality based on their own experience with manifestations of Cuban culture and science. The session is aimed at presenting some of those views as well as ideas for future collaboration between Cuban and American scholars and intellectuals. Participants are from Centro de Estudios Hemisféricos y sobre Estados Unidos (CEHSEU), Universidad de La Habana and Southern Illinois University