Graphically Generating Revolution

Cuban billboards feature a wide variety of political, social, economic and cultural subjects. They range from the mundane of mosquito extermination to maintaining political unity, and from geopolitical nuances such as exporting healthcare providers to conserving energy.

I have chosen to focus on outdoor messages about the future targeted at younger generations. These messages are especially important because the continuation of the Revolution upon the exit of the aging historical leaders depends on maintaining the ideological allegiance and active participation of the younger generations. Furthermore, the code of "generation" has been perennially salient in the discourse of Cuban political culture since long before the Revolution of 1959. Implicit in this choice of thematic inquiry is the question: Is a 20^th century medium an adequate means to reach the generations of the 21^st century? However, this study limits its focus to the manifest appearance of these signs—not intended meaning of their designers or forms of perception and message reception at the level of the audience.

Having chosen messages about generations of the future, I find that they are often communicated in terms of History.  While that sounds ironic on its face, it makes sense that a regime concerned with continuity would appeal to the population of Cuba's future in terms of an allegiance to the past.

Within the overall category of the Future in terms of History, this paper focuses on two tactical means by which authorities target youth. First, is the notion of Cultura—broadly interpreted as education, enlightened cultivation, the social goods and ideals that the Revolution has provided. Cultura is both a key nationalist antecedent to the Revolution and a product of the Revolution. This dialectical depiction of the past and future history of the Revolution suggests that the 19^th & early 20^th century political and cultural contributions to the success of the Revolution serve as a model for how the Revolution contributes to future generations, that is, to the Revolutions very continuance.

The second tactical means of representing history as a map for the future is what I am calling Incarnation. This concept refers to the graphic device of depicting historic leaders as embodying the nation—or future generations embodying past national heroes. Again, a dialectical process is at work: leaders of the Revolution, above all Fidel Castro (FC) embody the actions and ideals of figures from Cuba's history such as José Martí; and young people are depicted as personifying the revolutionary leadership as they continue the historic path and deepen the Revolution.

 

Below is a graphic representation of the general model of the strategic narrative conveyed by Cuban propaganda. At the broadest level, these messages draw from the nation's history to provide ideological direction for the future.

As propaganda relates to or addresses the younger generations, a dialectical relationship is put forth: the Revolution provided the means and ideas for young people to continue to advance the Revolution. This current transition from one generation to the next is just the latest in a sequence of torch passing. The revolutionary generation of 1959 inherited their ideas of national independence and Latin American unity from previous revolutionary and independence movements. Thus the messages to today's crop of young people is that they have a duty rooted in history to continue the path begun by their antecedents.

As seen in the visual diagram, the revolutionary leadership is just one of two interacting components of the model. Besides the personalities involved in this narrative, there are the conditions and creations of Revolution, that is, both the political environments and cultural ingredients that produced the Revolution, and the political and social products of the Revolution. If a steadfast belief in sovereignty and strains of socialism characterized the situation from which the Revolution arose, then the fruits of the Revolution include education, cultural elevation, and dogged independence in the face of imperial aggression.

It might be helpful to conceive of this dynamic double helix as an interaction between Structure and Agency. The past heralds the future via figures acting in a conditioned environment that is only partially of their making. The Marxist overtones of this interpretation may not be coincidental.

    If other posters show that FC embodies all Cubans, then this supergráfrica shows that each Cuban—including, first among equals, FC—contains an entire revolutionary armed force within. Each and every Cuban carries on the preparedness for struggle first displayed by the rebels in the 1950s. Indeed, this photograph of the elderly FC recreates physiognomically the iconic arms-raised photograph of the young rebels celebrating victory that appears every morning along the banner of the daily newspaper, Granma.

The modern color photograph semiotically resurrects a younger FC, while placing the responsibility of combat on each Cuban. Certainly this message could also allude to the defensive/ideological strategy known as guerra de todo el pueblo, in which the nation's plans for repelling a foreign invasion or occupation entail mobilizing all citizens, either as conscripts or civilian guerrillas.

This supergráfica was coded as pertaining to youth because it contains the word "hijo" from a famous José Martí quote. The three gentlemen featured are the independence leaders José Martí, Simon Bolivar and José de San Martín, who led the movements to free Cuba, northern and southern South America respectively. Behind them are the flags of all the nations of the Americas.

The young Martí's 1881 quote of being "a child of America" is superimposed onto the 21^st century. Contemporary Cubans are the offspring of these founding fathers, and as such they are "indebted" to the actions and ideals of that past.

While Martí, Bolivar and San Martín delivered independence, the unrequited dimension of their political project was the unification of the continents peoples into a grand cause called "Our America". This regional integration is once again on the agenda in alliances such as ALBA, an alternative to US-led free trade models, which Cuba and eight other countries hope will be a new and cooperative dawn for Latin America.

Thus, the message can be summarized as: These great heroes bestowed to today's generations both a vision and the independence from colonialism needed to fulfill that vision; now today's youth are duty bound to pursue the ideals of regional integration.

Another iteration of this message occurs with Martí appearing in the silhouette (in the mind) of FC, and Bolivar, the liberator of Venezuela, appearing in the silhouette of Hugo Chávez. As the revolutionary leaders of the 20^th and 21^st centuries follow in the footsteps of the 19^th century Latin American independence heroes—the "children" of the 21^st century inherit the debt to the ideal of America.

    Marking FC's 80^th birthday (which coincided with his near death experience and temporary transfer of authority—and thus a moment of uncertainty), this poster patriotically exclaims that FC should live 80 more years. Obviously, for biological reasons this is not a literal appeal—rather an urging that Cubans follow the path blazed by FC for another eight decades.

    This is the same photograph as above but cropped here so that FC's face does not appear. The imagery is consonant with the verbal message: in the wake of the revolutionary leader march scores of flag waving followers.

According to famous Cuban poet Nicolás Guillén's line, Che is pure like a child—in which case youth are deemed to have the revolutionary potential necessary to "be like Che".

This billboard notes that the federation of high school students has been with FC and the Revolution, making a future. Past allegiance serves as the motor for the future. Unwavering adherence to the Revolution is underscored by playing with the acronym for the federation, coloring the first two letters so that it reads "faith".

    "Faith" is what Che "inculcated" in Cubans.

    Not only does this billboard—which honors Che's fall in revolutionary combat in Bolivia—complete the cycle of a revolutionary legacy being passed on to those who will "always carry it"; but it also falls into the category of embodiment. Che's face doubles as the map of South America—his Argentine homeland and Bolivian place of death. Che embodied Latin America, and instilled faith in the continent that lasts on.

 

 

    Here the Revolution is the daughter of Culture, Knowledge and Ideas. A national symbol of a palm tree turns into a pencil which serves as a flagpole for the proud revered flag.  Nationalism abounds.

Nebulous oceanic forms run into the pencil-palm-flagpole, converting into well defined sheets of paper--more symbols of learning—and more abstractly representing the institutionalization of an organic and spontaneous sociopolitical process.  If the revolution is the child of culture and ideas, then culture and ideas are also the products of revolution.  The revolution/education dynamic is portrayed as a dialectical process. It feeds back into the very forces that created it, providing more education and culture to the young.

The Revolution "must continue to the task of fostering healthy, educational, and useful recreation for our youth," said FC. This reminder of the provision of health and schooling is paired with the logos of the chain of state-run campgrounds and the Union of Young Comunists. This construction completes the dialogical circuit from Culture to Revolution to Culture. The next logical step is that "our youth" continue the Revolution.

    But FC has warned that the state alone cannot be responsible for society's job of educating young people. He has called on parents to take seriously their part of developing their children into good citizens. "We must multiply our battle in a multifaceted way, if we want to advance."

    Although this phrase has been used in provincial production campaigns, FC most notably employed it in reference to raising young people properly. Multiplying efforts means all homes share in the task of educating; but it also means, that through that very process of parental rearing, society will multiply its number of upstanding revolutionaries. Pursuing the sequence, increased numbers of prepared young people equates to multiplying battles (i.e. social development).

Incarnation

Thus far I have noted the affinity between messages about the future and appeals to history. Within this thematic set, I have discussed the code of education—specifically the prevailing dialectical model that posits that the Revolution has provided education, which in turn lays the groundwork for more revolution.

Now I need to identify another categorical cluster within the future/history thematic set.

Upon further coding and sorting, I have come up with the notion of Incarnation. This code applies to messages that depict the younger generation embodying revolutionary leadership.

One billboard reads: “Fidel es un pais”; and features six smiling young boys and the famed rebel vessel, the Granma. The message contains at least three distinct yet related meanings: (1) The country is loyal (to its revolutionary history, particularly Fidel Castro) (2) Fidel Castro is a country (that monumentally important, and containing multitudes); (3) The entire country (including these boys) is like Fidel Castro.

A poster has the silhouetted profile of Fidel Castro superimposed over the flag. Within the positive space of the silhouette is a crowd of young Cubans marching in a demonstration. It reads “Somos Uno.” This also has several interconnected meanings: (1) We are all part of Fidel; (2) We are united as one; (3) Fidel represents all of us.

The theme of incarnation becomes very literal in another poster that shows an army of young Cubans, each with the face and rifle of a young Fidel Castro. It reads “The Youth, We Will Not Fail.”

The clear message is two-fold: that the revolutionary leadership is a role model to emulate; and that the younger generation has a responsibility to follow the historicos’ example.

The notion of historic role models for the future appears in a billboard with Che Guevara that reads “Con tu ejemplo comunista”; and in a mural with the youthful faces of the by-gone Che, Camilo Cienfuegos, and Julio Mella, which reads “De estos hombres se hace un pueblo”—from these men makes a people.

So within the future/history thematic set, the two subsets are Education and Incarnation. A stylized model functions along these lines:

• Revolution provided education, which instills the abilities and values to further the Revolution.

• Historic leaders made the Revolution, setting an example for the Youth to follow.

From Billboards

From Billboards

From Billboards

From Billboards

From Billboards

From ¡Que País!

Bambinazos Cuadrangulares!!

Santiago outfielder Alexei Bell hit two grand slams in the first inning of opening day in the national baseball series. He ended up going 4 for 4 with 12 runs batted in. That ranks as one of the all-time top performances in the worldwide history of baseball.

Homeland is Made from the Worth of its Sons

 

From a cursory coding of the data (yet years of familiarity with the subject matter), it appears to me that my main thematic category of The Future is often communicated in terms of History. While that sounds ironic on its face, it makes sense that a regime concerned with continuity would appeal to the population of Cuba's future in terms of an allegiance to the past.

A case in point is a billboard that appeared for the "ANIVERSARIO 113 DEL REINICIO DE LA GUERRA DE INDEPENDENCIA". It features a quote from José Martí: "La patria está hecha del mérito de sus hijos". This claims that the nation depends on its offspring, that Cuba's fate is in the hands of youth--yet the dictum about the future ironically hails from over a century prior. The context for Martí's quote was in the 1893 run-up to the "reinitiation" of the failed 10-year independence war (1868-78). The analogy of continuity cannot be missed: the Martí-masterminded War of Independence (1895-98) is to the previous 10-Year War as Cuba's near future is to Cuba's revolutionary history (which entails--at least according to the state--the entire period of struggle from 1868 to 1959). To sum up: 1868 is to 1898, as 1959 is to 2009.

The rest of the quote (which does not appear on the billboard, but may be familiar to many Cubans and thus implicit) says that 'the wealth of a nation derives from a child that beats the same path as his predecessors, leading to a more useful and complete result'. Just as the second generation of independence fighters followed triumphantly in the steps of the first unsuccessful generation, this billboard suggests that today's youth continue the revolutionary path to greater national goals.

It is important to note that the nation does not produce its offspring. Rather, "a nation is made" from the valuable contributions of "sus hijos". Just as Martí and Maceo and Gomez generated the independent nation of Cuba, the current crop of children will make their historic homeland by way of "merit".

Finally, I take a look at the visual graphics of this billboard. It is the figure of a late 19th century Cuban independence fighter on horseback, sword raised. There are three iterations of this image. The smallest and faintest one appears in the bottom left corner. Ascending is a larger and bolder iteration. Then finally the boldest and grandest rendition occupies the central space of the billboard. This image is the graphic representation of early precursors in struggle begetting later generations that ride along the same route, growing stronger and bolder.

From this single example we see how a simple quote and minimalist graphics can conjure history towards impelling the future.

(Of course, it remains to be seen how an outdated screen print of an old quote on an outdated mass medium can reach a 21st century audience. Maybe it could have better "connected" to today's youth by playing with the multiple meanings of the word "reinicio", so as to express something technologically updated while retaining the earlier historical significance--maybe meaning something along the lines of "Reboot the Revolution".)

The Wall Has Eyes

 

Back to the Future

 

This not subtle symbolism is a take on the very first poster of the Cuban Revolution.

Neighborhood Watch

 

The seventh congress of the neighborhood-level organization that keeps an eye out for counterrevolutionary activity and engages in recycling and blood drives. One of the many cross-cutting modes of sociopolitical organization that check and balance each other.

Home Schooled Toddlers

The program called "Educate Your Child" attempts to teach children the basics in preparation for primary school. Facilitators school parents on how to school children at home. This education augments preschools, which not all children attend--due to space limitations and parental preferences.

Rotten Fruit

At a cooperative in eastern Cuba, the agricultural production of mangoes outpaced the capacity to package and to transport them, resulting in the rotting of the juicy fruit. So even when labor and technique reap abundance, the lack of containers and fuel hamper the ability to bring produce to market.

Remodeling Permits

Most people do not get the legal permmission to remodel or make additions to their homes, even though state licenses allow you access to subsidized materials. The more common illicit route is pursued with private under-the-table contracters and labor, and more costly stolen or mined materials from the black market.

This AP article does not explain why Cubans do not go the legal route. The assumption is that it takes too long and often results in rejected requests. Neither does the article mention why the state would be stingy on licenses when perpetually facing an extreme housing shortage.

La Federacion de las Mujeres Cubanas--a decisive force for the Revolution

FMC

fuerza decisiva para la Revolucion

aniversario 50 de la federacion de mujeres cubanas

This billboard celebrates the “decisive” role that the women’s official mass organization has played over the half-century of the Cuban Revolution. It is complimented by an arabesque print of fluid fertile flowers that provides a feminine aspect to the design.

Women’s allegiance to the revolution has always been crucial. Early on in revolutions in Cuba and elsewhere in Latin America such as Chile, the reluctance of more conservative women has presented challenges to leftist programs. Women are often the linchpin of homes; so as goes the woman in political support, so goes the rest of the family. Finally, the gains of the Cuban revolution gave women the opportunity to work--which created the “double shift” of labor at the workplace and at home. This resulted in some conflicting opinions about the new revolutionary situation.

The FMC plays a role at the neighborhood level in social communication and carrying out some house-to-house campaigns. Politically, the FMC takes part in the selection process of members of the national assembly.

For these reasons it may be important to underscore publicly the FMC’s value to the revolution.

We Work for you

TRABAJAMOS Para Usted

This image is different from the printed billboard produced by the Cuban Communist Party. It is a crudely painted mural at a state-run vendor. The painted wall pronounces that the service outlet “works for us”. This double entendre means that the firm serves us (its customers) and works for us (as owners of the state firm). In a country where employees often do not have much motivation to attend to clients, this message could be attempting to counterbalance popular sentiment about the low quality of the service industry. It may also be reminding people that they themselves as citizens are owners and beneficiaries of the means of production.

The unintended message that is revealed only in this particular photograph is an ironic statement on the social indiscipline of the workforce. In the middle of the day, a crew of idle men sit under the shade of a sign that proclaims “we work for you”. Clearly, state messages can change when perceived in the social context of the signs’ “natural” environment.

Whoever wants to, finds a way; whoever doesn't, finds excuses.

Quien quiere hacer encuentra medios; quien no quiere hacer encuentra justificaciones.

This is another painted wall of a state firm, a taxi company. Whether or not the message pertains to the line of work of the business is debatable. Often the managers decide what messages will grace the facades of their workplaces.

The statement, akin to “where there is a will, there is a way”, alludes to the very Cuban situation of having to make do in a blockaded economy. Often times this method of resolving problems involves technically illegal strategies such as engaging in the black market of goods stolen from state firms or privately offering to sell your labor and skills. But as the sign suggests, the authorities often look the other way, as the island society would find it difficult to function if there were a strict prohibition on proscribed activities. The hidden capitalism that greases the wheels of socialism. Beyond looking the other way, this outdoor message seems to actually encourage makeshift solutions. Although they do not have to be illegal; they could be organic grassroots initiatives that solve local problems.

The second part of this phrase aims to disparage people who simply complain about the impossibility of life in Cuba without attempting to devise inventive solutions to their problems. At times, even communists have to pull themselves up by their bootstraps.

Entrenchments of Ideas are Worth more than Entrenchments of Stone

Trincheras de ideas valen mas que trincheras de piedra.

This famous quote from the national hero, José Martí, serves as the standard of the Frederich Engels Printing Company. Its meaning is somewhat analogous to “the pen is mightier than the sword”. It valorizes Cuban culture and education and political ideology as great weapons in the “Battle of Ideas” with capitalism. Adopting the quote from Martí may intend to draw a historic link between the thoughts of the late 19th century and current Cuban social policy that favors education and cultural programs. That said, the massive role of the Cuban military in the society and the economy may belie the rhetorical discounting of “stone embattlements”.

Liberty is impossible without culture.

Loyal to Our History--study, work, rifle

Fieles a Nuestra Historia

This is a mural produced by and in honor of the Union of Young Communists. Its traditional logo depicts three fallen male heroes of Cuban history, Julio Mella, Camilo Cienfuegos and Ernesto Guevara. Besides Fidel Castro and Raul Castro and sports stars, one generally must be deceased to have one’s likeness appear on outdoor propaganda. The motto of the Union of Young Communists is “study, work, rifle”--the three main components of young people’s lives--although many young people neither go to school, nor work, nor participate in the mandatory military.

The large phrase “Loyal to Our History” implicitly creates a historic link between the current day and age and the revolutions of 1959, 1933, 1895 and 1868. The use of the word “fiel” is a synonym, and near homonym, of the word “fidel”, which means loyal or faithful. Obviously, the understanding is being loyal to the historic leadership of Fidel Castro. The use of “our” history reveals that people are progressing together through a shared history, and thus a common modern plight.

A Metaphor

Eduardo Galeano recounts a short story that epitomizes Cuba.

People progress together, following their passions.
People take local initiative to resolve individual problems.
And nobody knows where the country will end up.


Crónica de la ciudad de La Habana

Los padres habían huido al norte. En aquel tiempo, la
revolución y él estaban recién nacidos. Un cuarto de siglo
después, Nelson Valdés viajó de Los Angeles a La
Habana, para conocer su país.
Cada mediodía, Nelson tomaba el ómnibus, la guagua
68, en la puerta del hotel, y se iba a leer libros sobre
Cuba. Leyendo pasaba las tardes en la biblioteca José
Martí, hasta que caía la noche.
Aquel mediodía, la guagua 68 pegó un frenazo en una
bocacalle. Hubo gritos de protesta, por el tremendo
sacudón, hasta que los pasajeros vieron el motivo del
frenazo: una mujer muy rumbosa, que había cruzado la
calle.
"Me disculpan, caballeros" dijo el conductor de la
guagua 68, y se bajó. Entonces todos los pasajeros aplaudieron
y le desearon buena suerte.
El conductor caminó balanceándose, sin apuro, y los
pasajeros lo vieron acercarse a la muy salsosa, que estaba
en la esquina, recostada a la pared, lamiendo un
helado. Desde la guagua 68, los pasajeros seguían el ir y
venir de aquella lengüita que besaba el helado mientras
el conductor hablaba y hablaba sin respuesta, hasta que
de pronto ella se rió, y le regaló una mirada. El conductor
alzó el pulgar y todos los pasajeros le dedicaron una
cerrada ovación.
Pero cuando el conductor entró en la heladería, produjo
cierta inquietud general. Y cuando al rato salió con
un helado en cada mano, cundió el pánico en las masas.
Le tocaron la bocina. Alguien se afirmó en la bocina
con alma y vida, y sonó la bocina como alarma de robos
o sirena de incendios; pero el conductor, sordo, como si
nada, seguía pegado a la muy sabrosa.
Entonces avanzó, desde los asientos de atrás de la
guagua 68, una mujer que parecía una gran bala de
cañón y tenía cara de mandar. Sin decir palabra, se sent
ó en el asiento del conductor y puso el motor en marcha.
La guagua 68 continuó su recorrido, parando en
sus paradas habituales, hasta que la mujer llegó a su
propia parada y se bajó. Otro pasajero ocupó su lugar,
durante un buen tramo, de parada en parada, y despu
és otro, y otro, y así siguió la guagua 68 hasta el final.
Nelson Valdés fue el último en bajar. Se había olvidado
de la biblioteca.

Gov. Richardson on Cuba-US Relations (or lack there of)

Workplace cafeterias to close

Most medium to large state firms and workplaces have their own lunchrooms in which employees eat for free. They are shuttering; and employees are being given a raise so as to buy their own lunch. The problem is that in some areas it can be difficult to find a restaurant, a lunch cart on the street, or home-based food vendor. Maybe with demand increasing, more options will become available.

News Theme Song

This is no longer the song used to open the broadcast--which could be heard coming from all directions, walking through any neighborhood at 8pm.



I would like to hear a hip hop beat sample this song.