The 1959 Cuban Revolution, the revolution’s subsequent strengthening, and the radical change that the process underwent beginning in 1961 marked a turning point in the history of Latin America. It implied the largest and most consistent regional challenge faced by the United States in an area where its influence had often been decisive. From then on, the Latin American Cold War intensified at every level. It was no longer about the “reactive” actions that took place among the conservative Latin American elite via the communism inspired by distant Moscow.
In Cuba, the culture of the “revolution” was established, and the consequences were far from mere symbolism: Cubans also launched actions of “alternative diplomacy” to lend institutional support to the Latin American guerrilla movements. However, there is no documented study on Cuba’s role in Latin America. This is explicable in large part by the secrecy with which the Caribbean isle has made archival research in the country impossible.
Although this secrecy is understandable in view of its nature as a heavily beleaguered revolution from abroad, this culture of secrecy contributed to expanding a production of journalistic and essay-based denunciation that habitually lacked rigor and interpretive frameworks. Since 2010, a certain spirit of openness has existed in the matter, an example of which is purported to be linked to the Cuban Ministry of Foreign Affairs, whose historical repository has slowly begun to receive researchers, principally from abroad.
Drawing upon the anxiety and curiosity of the international historiographic community about the images originating from Havana, an initial approach and investigation was carried out in the aforementioned tradition, with the aim of shedding light on several of the actions deployed by the Cuban Embassy in Uruguay during the initial and intense years of the Caribbean revolution.
Eric Paul Roorda
After more than a century of sporadic immigration from the island of Cuba to the United States, the trajectory of the diaspora accelerated steeply, beginning with Fidel Castro coming to power in 1959. In the ensuing years, as bilateral relations between the Communist regime in Havana and the administrations of President Dwight Eisenhower and John F. Kennedy soured and the exodus of upper-class, then middle-class, Cubans increased until Castro clamped down on it. Thereafter, the pace of departures became episodic, involving mainly working-class people, and their nature turned increasingly desperate. Three major immigration events punctuated the next 30 years: in 1965 from the port of Camarioca, in 1980 from the bay city of Mariel, and, again in 1994, a more general wave of flight that also heavily involved the port of Mariel. These bursts of seaborne migration came against a backdrop of constant, low-level, individual efforts to flee adverse circumstances in Castro’s Cuba. These include manifold political pressures, with opponents of the regime and cultural nonconformists alike facing harassment and imprisonment; as well as other severe economic challenges, with food scarcity, fuel shortages, and unreliable electric power making daily life difficult for the vast majority of Cuban citizens.
U.S. opposition to Castro has taken many forms, beginning with economic sanctions. A complete break in relations followed in early 1961, an invasion attempt at the Bay of Pigs in April 1961, and, later, a Central Intelligence Agency–sponsored campaign of terrorist attacks and assassination attempts code-named Operation Mongoose. Since the Cuban Missile Crisis of October 1962, a nearly complete embargo has prevented any sort of trade or tourism. In response to the influx of new Cuban arrivals, U.S. policy toward the immigrants themselves altered radically, facilitating their arrival and assimilation as political refugees until August 1994, then actively preventing their entry as economic refugees, until this writing.
The Cuban film posters produced by the Institute of Cinematic Art and Industry from 1964 to 1974 were the synthesis of an exploratory process that defined new subject matter established by the Revolution. This process created a canon that achieved its own visual language and was supported by specialized critics, followed a formal style, and adopted a variety of composition structures. Elements of that canon can be traced back from contemporary Cuban posters.