New Voices of Rebellion Rise in Cuba
 A new generation of artists is keeping Cuba’s culture and desire for freedom alive, despite government crackdowns
By Michael Deibert
Newlines Magazine
(Read original article here) 
In July 2018, the locals and foreign tourists who
 habitually mill around the picturesque Habana Vieja quarter of Cuba’s 
capital were treated to a startling sight. Walking up the stairs of El 
Capitolio — the grandiose historical seat of Cuba’s congress completed 
in 1929 and shuttered after Fidel Castro seized power in 1959 — a 
striking woman appeared covered in excrement and railing against the 
dictatorship that has ruled the island for six decades.
“It was an
 act of fury, a gesture of helplessness, of exhaustion,” says Yanelys 
Núñez Leyva, the 31-year-old art historian and gallerist who made the 
protest. “The message was that they weren’t going to be able to beat us,
 that we were ready for anything, that the Cuban art world followed the 
tradition of resistance that preceded it.”
In 2016, Núñez Leyva 
and performance artist Luis Manuel Otero Alcántara created the Museo de 
la Disidencia en Cuba, an online platform to highlight acts of dissent —
 especially in the artistic realm — from Cuba’s colonial era until 
today. Two years later, Núñez Leyva and Otero Alcántara were among the 
founding members of the Movimiento San Isidro collective, named after a 
poor and historically marginalized Havana neighborhood, encompassing a 
wide range of artists, writers, and musicians.
“We observed the 
fear that people felt when hearing the word dissident,” says Núñez 
Leyva, “It was not only the exclusion of the government, but also the 
exclusion of neighbors, friends, and society in general. If you became a
 dissident for the state, then you became a social plague. Faced with 
this context, we created the museum as a way to legitimize being a 
dissident and give it value.”
Núñez Leyva and Otero Alcántara are 
among the vanguard of young activists and artists in Cuba today facing 
down an ossifying machinery of repression that, though the world has 
changed to the point of being unrecognizable since 1959, often seems to 
have changed very little at all. Just before Núñez Leyva’s 2018 protest,
 state security had bundled Otero Alcántara and the poet Amaury Pacheco 
off to detention (they would be released a short time later) following 
the group’s attempt to push back against a new government law, Decree 
349.
The new law – a draconian edict that prohibits musicians, 
artists, writers, and other performers from operating in public or 
private spaces without prior approval by Cuba’s Ministry of Culture – 
poured cold water on those who had hoped that the piecemeal 
liberalization of some aspects of Cuban life that began when Raúl Castro
 took over as de facto leader of the country from his brother Fidel in 
July 2006 might continue.
To understand the space in which Cuba’s 
cultural activists operate, it is essential to process Cuba’s history 
and, especially, its relationship with the United States.
After 
invading Cuba in 1898 during the Spanish-American War, the United States
 would continue to occupy it with a military government until May 1902. 
The Platt Amendment of 1901 dictated that the United States could 
intervene in Cuba militarily at any time, even as Cuba ceded the Isla de
 Pinos and was obligated to “sell or lease to the United States lands 
necessary for coaling or naval stations.” The 1903 Cuban-American Treaty
 of Relations would enshrine these conditions into law.
For 
decades after the invasion, the United States would exercise outsize 
influence on Cuba’s turbulent politics, one of its lowest ebbs being the
 1925 to 1933 dictatorship of Gerardo Machado. With Machado’s regime in 
collapse, in September 1933 a sergeant born poor in the province of 
Holguín, whose alleged mixed-race heritage led to him being referred to 
as el mulato lindo (“the pretty mulatto”), led a revolt to finish it off. His name was Fulgencio Batista.
Through
 puppet presidents and directly as president himself, Batista ruled the 
island until 1944, when his chosen successor for president was defeated 
and constitutional order returned, however uneasily, to Cuba. The last 
time Cubans would be able to vote for the government that ruled them was
 July 1948, when they elected a senate, house of representatives and the
 dapper, urbane Carlos Prío Socarrás as president. In March 1952, on the
 cusp of new elections, Batista, again facing certain defeat, connived 
with the army and seized power in a coup d’état.
For the next 
seven years Cuba, and Havana in particular, became a debauched 
playground for vacationing Americans, featuring plentiful brothels and a
 strong presence of U.S. organized crime. U.S. financial interests 
exercised an enormous influence over Cuba’s economy and politics, 
uttering nary a word of condemnation as the reliably anti-communist 
Batista turned a country with a vibrant if imperfect democracy into a 
thuggish police state. Discontent grew. In July 1953, Batista put down 
an armed attack on the Moncada Barracks in Santiago de Cuba, in the 
country’s east, led by a young lawyer named Fidel Castro.
Nevertheless,
 the Cuba of the 1950s was not, as some would like to portray it, a 
place of utter squalor. There were great inequalities between town and 
country and between the races (Batista himself was famously refused 
admittance to one exclusive Havana club on this basis). But as the PBS 
documentary Fidel Castro (2005) notes, Cuba ranked fifth in the
 hemisphere in per capita income, third in life expectancy, and second 
in per capita ownership of automobiles, and its literacy rate was 76 
percent – the fourth highest in Latin America. It ranked 11th in the 
world in the number of doctors per capita, its income distribution 
compared favorably with that of other Latin American societies (and 
certainly in the Caribbean itself), and there was a vibrant, engaged 
middle class. Music, especially, thrived.
The illegitimate son of a
 well-off landowner, Fidel Castro — jailed and subsequently released 
into exile in Mexico — would sail back to Cuba clandestinely in December
 1956 with a small band of revolutionaries that included his brother 
Raúl and the Argentine revolutionary Ernesto “Che” Guevara. When the 
revolutionaries finally succeeded in ousting Batista on New Year’s 1959,
 revolutionary euphoria soon turned to bloodletting. In January 1959, 
outside of Santiago de Cuba, forces under the command of Raúl Castro 
conducted a mass killing in what became known as the Massacre of the 71.
 In the months immediately after the revolution, hundreds of people were
 killed after the most cursory of trials, many of them at the Fortaleza 
de San Carlos de la Cabaña, which guards Havana’s harbor and which was 
under Guevara’s command.
This did not escape the view of Cuban intellectuals of the time. In his novel En mi jardín pastan los héroes
 — a shattering portrait of the moment when the great hope of the Cuban 
revolution disintegrated into tyranny — the author Heberto Padilla wrote
 that “a revolution is not simply the excited rush of plans, dreams, old
 longings for redemption and social justice that want to see the light 
of day which the revolution gushes at its beginning. It has its dark 
side, too, difficult, dirty almost — repression, overzealous police 
vigilance, suspicion, summary verdicts, firing squads.”
Initially a supporter of the revolution, Padilla would eventually be imprisoned and then flee into exile.
The
 political compass of the island swung wildly after the revolution. 
After the Cuban state nationalized U.S. property, U.S. President Dwight 
D. Eisenhower severed relations in January 1961 (by the end of the year,
 Fidel Castro would openly declare himself a communist). When Eisenhower
 was succeeded as president by John F. Kennedy, relations between the 
United States and Cuba grew even more fraught. An attempted invasion by 
exiles in April 1961 — the Bay of Pigs — ended in blood-soaked failure, 
and in October 1962, the Cuban Missile Crisis took the world to the 
brink of nuclear war.
Beginning in the early 1960s, the United 
States enacted a series of punishing economic measures against Cuba’s 
new regime, which barred not only U.S. businesses, but businesses that 
do business in the United States from interacting with the communist 
state. Largely sealed off from the giant to the north, the Cuban state 
developed into a reactionary military dictatorship centered around the 
Castro family. A network of neighborhood spies and enforcers, the 
Comités de Defensa de la Revolución (Committees for the Defense of the 
Revolution, or CDRs) were set up and, as former allies like Carlos 
Franqui would later attest, what was acceptable in the island’s cultural
 life became inextricably linked to what its dictator deemed 
appropriate.
Describing this system of government repression in his 1998 novel Trilogía sucia de La Habana,
 Pedro Juan Gutiérrez wrote that “it’s the only way to turn people into 
mercenaries: by convincing them they’re part of the power structure. 
When the truth is they’re not even allowed to approach the throne …. 
They’ve enjoyed the power of weapons, the stick in hand, of lording it 
over their fellow citizens and humiliating them and beating them and 
shoving them into cells. Finally, some of them understand, with their 
livers shot, that they’re miserable beasts, club in hand. But by then 
they’re so scared, they can’t let go.”
Heberto Padilla was far 
from the only writer that suffered terribly after the revolution, though
 he only faced rage because of his ideological deviation. Other writers,
 such as Reinaldo Arenas, José Lezama Lima and Virgilio Piñera, were 
subject to wrath not only because of their ideas but also because of 
their sexual orientation. Actual or suspected LGBTQ people were 
imprisoned and tortured while government critics found themselves 
without work, as the government was the only legal employer. Millions of
 Cubans fled abroad, especially to Florida, where the Cuban-American 
population is estimated at more than 1.5 million and plays a pivotal 
role in U.S. politics.
Somehow, through it all, Cuba’s 
dictatorship retained an allure for many on the global left. Perhaps the
 most infamous example of this was the Colombian author Gabriel García 
Márquez, who not only failed to denounce the dictatorship’s human rights
 abuses but, as former dissident and later U.S. Ambassador to the United
 Nations Commission on Human Rights Armando Valladares alleged, 
collaborated with Cuba’s security forces to entrap academic and 
pro-democracy activist Ricardo Bofill. As a result, Bofill spent years 
in prison.
Many on the left were quick to point out Fidel Castro’s
 support for different global insurgencies and roundabout role in 
helping to end apartheid in South Africa via his military intervention 
in Angola. What remained unspoken was the irony that the right to vote 
is something denied to all Cubans – Black or not – every bit as much as 
it was under the apartheid regime.
In 2013, when the journalist 
Yoani Sánchez conducted a speaking tour of several countries, defenders 
of Cuba’s dictatorship harassed her as she arrived at the airport in 
Recife and interrupted a film screening she attended. When she visited 
Brazil’s congress, left-wing politicians berated and insulted her in a 
manner reminiscent of the behavior of the CDRs. Two days after the 2016 
death of Fidel Castro, the official Black Lives Matter account tweeted, 
“Although no leader is free from shortcomings, we must respond to 
right-wing rhetoric and defend El Comandante. Fidel vive!” During his 
campaign for the Democratic nomination for president earlier this year, 
Bernie Sanders praised Castro’s 1961 literacy campaign, only to be 
rebuked by those who actually experienced what it was — political 
indoctrination as much as education — and who pointed out that many 
countries supplied decent school and decent health care without the boot
 of dictatorship on the necks of the citizenry. Earlier this year, on 
the 53rd anniversary of Che Guevara’s death while leading a quixotic and
 unasked-for insurgency in Bolivia, Spain’s Deputy Prime Minister and 
leader of the left-wing Podemos party Pablo Iglesias called Guevara an 
“example for history of the liberation of peoples and social justice.”
All
 of this adulation of a totalitarian system is, as one can imagine, 
somewhat hard to swallow for those facing down Cuba’s dictatorship on a 
daily basis.
“When it comes to Cuba, every human being on this 
planet, mainly people on the left — and I consider myself to be on the 
left — has something positive to say about how people live in Cuba,” 
says Núñez Leyva. “They always have a point of comparison; they always 
have a justification for cleaning up the government’s image. That, to 
me, is ignorance, arrogance, and neocolonialism.”
For the young activists in the county, the idea that Cuba’s government is a champion of racial equality is laughable.
“The
 Cuban regime is weighted on the basis of white men — macho, 
patriarchal, white men — with white women and wives as well,” says Otero
 Alcantara. He grew up in Cerro, one of Havana’s poorest neighborhoods, 
and one that has one of the richest traditions of Afro-Cuban culture. 
Since 2017, he has been detained by state security 30 times.
“Cuban
 television and all the Cuban cultural apparatus still operate on a 
racist basis,” Otero Alcantara says. “One of the great themes in Cuba is
 that when Castro comes to power, he erases racism with the stroke of a 
pen, and now there is no more racism and you can’t talk about it and 
everyone who talks about it is counter-revolutionary. Therefore racism 
remains intrinsic within society. Racism does not evolve backwards, it 
is not capable of dying, because it is entrenched within the nation.”
When
 it comes to art forms that explicitly address race, the Cuban 
government even tries to control the output and content of the 
inherently rebellious hip-hop genre through two government-funded 
groups, the Asociación Hermanos Saiz and Agencia Cubana de Rap. Many of 
its purveyors on the island, however, aren’t receptive to this.
“Hip
 hop is a philosophy of life, a social therapy and a kind of liberation 
for me,” says Soandry del Río, a 42-year-old rapper who helped found the
 Movimiento San Isidro, though now he identifies as an independent 
activist. “But we have a government that wants to control all areas of 
society and that includes the cultural space.”
Which is not to say
 that, particularly since Fidel Castro stepped down from day-to-day 
ruling of the island in 2006, there have not been changes in Cuba.
Raúl
 Castro, who had a more uncompromising reputation than his brother, 
became acting ruler of Cuba in July 2006 and then head of Comité Central
 del Partido Comunista de Cuba, the most powerful post in the country, 
in April 2011. While maintaining an unyielding monopoly on political 
power, he ushered in changes that were unimaginable 20 years ago, 
largely ending restrictions on the ability of Cubans to travel abroad 
(though dissidents are still frequently stopped at airports), allowing 
private use of cell phones, allowing citizens to connect — for a price —
 to the internet, and relaxing restrictions on private businesses, which
 in the last decade has led to a thriving market for services like 
Airbnb.
In December 2014, Raúl Castro and then-U.S. President 
Barack Obama announced that long-standing travel and commercial 
restrictions the United States had placed on Cuba would be relaxed and 
full diplomatic relations would be restored. In August 2015, after 34 
years, the United States reopened its embassy in Cuba. In March 2016, 
Obama landed in Havana, becoming the first U.S. president to visit the 
island since Calvin Coolidge in 1928. The image of the young, vital 
leader of the United States strolling the streets of Habana Vieja, 
cheered by Cuban citizens, was a striking one when compared with the 
aging Raul Castro who, at their dual press conference, was peppered with
 questions about human rights and political prisoners he wasn’t used to 
answering.
I visited Cuba frequently during this period, and the 
sense of hope and expectation among ordinary people was palpable. 
American tourists and businesspeople — and their ideas and their money —
 flooded onto the island. One night, I sat on the roof of a restaurant 
in Havana’s Vedado neighborhood with two friends of mine, a gay couple. 
One of them sighed and said, “I’m just hoping things change. I’m pushing
 50 and I’ve waited so long, and I don’t feel like I have much time 
left.”
When Donald Trump took office in January 2017, of a piece 
with his seeming obsession to undo most of his predecessor’s 
accomplishments, he returned to the Cold War policy that had been so 
ineffective for decades: restricting U.S. residents’ ability to travel 
to and do business in Cuba and increasing financial, banking, and 
shipping restrictions to the country. Many observers feel this was a 
mistake.
“Part of the logic of Obama’s policy was taking the 
United States out of the middle of Cubans’ battles with themselves, and 
that was always a long-term bet,” says Michael J. Bustamante, an 
Assistant Professor of Latin American History specializing in modern 
Cuba at Florida International University in Miami. “The objective of 
that policy was not regime change.”
“By and large, that long-term 
bet made sense and still makes sense,” says Bustamante. “The amount of 
good that it did in terms of improving people’s lives, opening up space 
for internal debate in Cuban society, and unleashing civil society was 
kind of unprecedented.”
The activists in Cuba itself can often 
seem to be inhabiting a kind of twilight world, denounced as public 
enemies by the Cuban government and yet not entirely accepted by the 
Cuban exile community, either. They operate on a shoestring budget, 
unlike the well-heeled lobbyists and political operators in Washington, 
D.C., politically connected and advocating for the hardest line possible
 against Cuba. This past June, at the urging of just this sector, the 
United States blacklisted Fincimex, the Cuban military-controlled entity
 that processes remittances for Western Union — a key source of hard 
currency for Cubans — which has led to the closure of more than 400 
Western Union offices on the island.
Nor would the Cuban activists
 fit in well with many of the younger arrivals in the United States, 
some of whom have allied themselves closely with the racist, xenophobic 
policies of the outgoing Trump administration. These are perhaps 
personified by no one better than YouTube personality Alexander Otaola, 
who frequently mocks Black Lives Matter protesters as “criminals” who 
“use someone’s death to destabilize a government” and claiming there is 
“no difference between these communists and Hezbollah.”
When Trump
 made a campaign stop in Miami in October, Otaola approached the 
president to give him a “list” of Cubans with U.S. visas whom Otaola 
charged were too cozy with the Castro regime. Among those, somewhat 
absurdly, was Antonio Rodiles, an opposition activist who has been 
repeatedly detained by Cuba’s state security services. Otaola did not, 
however, present Trump with a list of the many Cubans languishing in 
immigration detention, some of whom say they were violently coerced to 
sign forms claiming they wanted to return to Cuba.
By contrast, 
after the killing of George Floyd by police in Minneapolis in May, the 
actress Iris Ruiz, one of the founding members of the Movimiento San 
Isidro, wrote of how “intersectionality” was key to any civic struggle 
and that “our societies are structurally and culturally racist and 
oppressive.”
Some Cuban-Americans in Miami are not above engaging 
in historical revisionism when it comes to characterizing their 
relationships with the civil society in Cuba itself, either. When 
democracy activist Oswaldo Payá showed up in Miami in 2003 to seek 
support for his Proyecto Varela, an initiative that proposed a variety 
of measures to increase democratic representation and freedom of 
expression in Cuba, many exiles mocked him as a “bringer of false hope.”
 Since Payá died in a mysterious auto accident in Cuba in 2012, however,
 he has become revered by many among the exiled right-wing, apparently 
forgetting their previous suspicion of him.
In Cuba itself, 
meanwhile, despite 60-year-old Miguel Díaz-Canel having become president
 in October 2019, Raúl Castro remains head of the Communist Party and is
 widely believed to have remained the ultimate power behind the scenes.
Those
 connected to the Movimiento San Isidro continue to be targets of not 
only official police harassment but also of the so-called “acts of 
repudiation,” ostensibly spontaneous (though always carefully 
choreographed by the government), such as happened in Havana last month.
 On Oct. 7, Otero Alcántara and a number of other members of the 
collective, including rapper Maykel Osorbo, were in a building in Habana
 Vieja creating posters as part of their initiative dubbed 
#MiCartelParaElCambioEnCuba (“My Poster For Change In Cuba”) when Cuban 
police sealed off the street, ordered curious residents back into their 
home as people in civilian clothes arrived brandishing pictures of Fidel
 Castro and trying to destroy the posters. During the conflagration, 
Otero Alcántara was beaten and fined by police.
The artists vow, however, not to back down and to keep Cuban culture vibrant and alive.
“The
 Cuban government has a lot of hostility to popular culture because they
 know popular culture is the most uncontrollable kind of culture in the 
world,” says Otero Alcántara. “You can control your intellectuals 
through cultural structures. You can control the thinking of a group of 
artists. But popular culture is born from the spontaneity of need, of 
misery, of experiences that no government, no regime in the world has 
the power to control.”