In a nation as racially diverse as Cuba, it is actually unexpected that, for a long period of time, Afro Cuban art was actually certainly not regarded as good. After the change, Santeria and also other African theological as well as cultural techniques were actually regarded primitive and also counter-revolutionary. This was specifically the situation in the 70s, during the course of a time period of intense censorship in each locations of imaginative and also social life on the isle.
In 1978, a group of artists resisted against the condition restriction as well as formed an art aggregate under the label Grupo Antillano. Despite the fact that the team was actually energetic for merely 5 years, it helped set up Afro Cuban art as part of national identity. Many members of the team were actually painters – Adelaida Herrera Valdés, Julia Valdés, Manuel Mendive, Leonel Morales, Miguel Lobaina, Ever Before Fonseca, Clara Morera, Manuel Couceiro Prado, Arnaldo Rodríguez Larrinaga, Pablo Toscano Mora, Miguel Ocejo, and also carvers – Herminio Escalona Gonzales, Rogelio Rodríguez Cobas, Ramón Haití, Rafael Queneditt Morales, Alberto Lescay Merencio, Oscar Rodríguez Lasseria, with Esteban Ayala Ferrer working predominantly in graphic concept annuaire afro.
In the upcoming 4 years, the team displayed throughout Cuba as well as around the globe. Shortly after Lam’s fatality in September of 1982, Grupo Antillano stopped to exist as a musician collective as well as their final team exhibition was actually a Tribute to Wilfredo Lam in September of 1983.
A retrospective exhibition under the label “Drapetomanía: Grupo Antillano and the Fine Art of Afro-Cuba”, curated through Harvard lecturer Alejandro de Los Angeles Fuente, very first opened up in Santiago de Cuba in April 2013, continued on to Havana in August of the exact same year, in the Springtime of 2014 will definitely be on show in New York, in the Loss of 2014 in San Francisco and in the Springtime of 2015 in Harvard University.
Besides showcasing works of authentic members of Grupo Antillano, the exhibit also includes jobs through a much younger generation of artists that share the very same interest in the authentic participants – problems of identification, race as well as background. The group of present-day musicians welcomed to take part in this retrospective includes Belkis Ayón, José Bedia, Eduardo Roca Salazar (Choco), Juan Roberto Diago, Douglas Pérez, Elio Rodríguez Valdés, Alexis Esquivel, Andrés Montalván Cuéllar, Santiago Rodríguez Olazabal, René Peña, Marta María Pérez Bravo and also Leandro Soto.