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.