Las prácticas estéticas de los aborígenes en Cuba. Apuntes para una contra-historia decolonial
Date
Subject
Prácticas estéticas aborígenes
estética decolonial
Arte decolonial Cubano
mirada contrahistórica
Aboriginal aesthetic practices
decolonial aesthetics
Cuban decolonial art
counterhistorical look
estética decolonial
Arte decolonial Cubano
mirada contrahistórica
Aboriginal aesthetic practices
decolonial aesthetics
Cuban decolonial art
counterhistorical look
Language:
Journal Title
Journal ISSN
Volume Title
Publisher
Instituto Tecnológico de Santo Domingo (INTEC)
La Historia del Arte en Cuba marca sus inicios en la etapa colonial pasando tabula rasa por sobre la cultura material de nuestros primeros pobladores y su legado. Por lo general esta porción del pasado ha sido valorada fundamentalmente como una evidencia etnográfica, histórica o patrimonial. Entre las razones que explican que no abunden las miradas de la Historia del Arte y la Estética sobre ellos, mucho tienen que ver con el eurocentrismo y su gesto excluyente sobre cualquier producto o relación que no se ajuste a sus cánones. De este modo, la centralidad paradigmática del Arte en el discurso de la Estética ha derivado en clasificaciones jerárquicas que aún normalizan la lógica colonial. Si bien la apertura a nuevas maneras de hacer ha caracterizado el escenario cultural a partir de la crisis del Arte en el siglo XX, con gestos francamente inclusivos, la mirada al pasado-presente de nuestros pueblos originarios aún no se desmarca del imperativo europeizante de discriminación. El concepto prácticas estéticas aborígenes pretende aportar a una mirada contrahistórica decolonial del pasado aborigen cubano y rescatar para las creaciones de los primeros pobladores y sus huellas, una legítima esteticidad otra que aún hoy parece estar en cuestión, si nos atenemos a pertinencias disciplinares e institucionales.
The History of Art in Cuba marks its beginnings in the colonial period, passing over the material culture of our first settlers and their legacy. In general, this portion of the past has been valued fundamentally as ethnographic, historial or patrimonial evidence. Among the reasons that explain why there is not an abundance of views of Art History and Aesthetics on them, much has to do with Eurocentrism and its exclusionary gesture on any product or relationship that does not conform to its canons. In this way, the paradigmatic centrality of Art in the discourse of Aesthetics has led to hierarchical classifications that still normalize colonial logic. Although the opening to new ways of doing things has characterized the cultural scene since the crisis of Art in the 20th century, with frankly inclusive gestures, the look at the past-present of our native peoples still does not break away from the Europeanizing imperative of discrimination. The concept of aboriginal aesthetic practices aims to provide a counter-historical decolonial view of the Cuban aboriginal past and to rescue for the creations of the first settlers and their traces, a legitimate aesthetic that even today seems to be in question, if we stick to disciplinary and institutional pertinences.
The History of Art in Cuba marks its beginnings in the colonial period, passing over the material culture of our first settlers and their legacy. In general, this portion of the past has been valued fundamentally as ethnographic, historial or patrimonial evidence. Among the reasons that explain why there is not an abundance of views of Art History and Aesthetics on them, much has to do with Eurocentrism and its exclusionary gesture on any product or relationship that does not conform to its canons. In this way, the paradigmatic centrality of Art in the discourse of Aesthetics has led to hierarchical classifications that still normalize colonial logic. Although the opening to new ways of doing things has characterized the cultural scene since the crisis of Art in the 20th century, with frankly inclusive gestures, the look at the past-present of our native peoples still does not break away from the Europeanizing imperative of discrimination. The concept of aboriginal aesthetic practices aims to provide a counter-historical decolonial view of the Cuban aboriginal past and to rescue for the creations of the first settlers and their traces, a legitimate aesthetic that even today seems to be in question, if we stick to disciplinary and institutional pertinences.
Description
Type
info:eu-repo/semantics/article
info:eu-repo/semantics/publishedVersion
Artículos evaluados por pares
info:eu-repo/semantics/publishedVersion
Artículos evaluados por pares
Source
Science and Society; Vol. 49 No. 4 (2024): Science and Society; 115-132
Ciencia y Sociedad; Vol. 49 Núm. 4 (2024): Ciencia y Sociedad; 115-132
2613-8751
0378-7680
10.22206/cys.2024.v49i4
Ciencia y Sociedad; Vol. 49 Núm. 4 (2024): Ciencia y Sociedad; 115-132
2613-8751
0378-7680
10.22206/cys.2024.v49i4