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• W2474592073 abstract "Puñales-Alpizar, Damaris, (2012) Escrito en cirílico: el ideal Soviético en la cultura Cubana posnoventa, Editorial Cuarto Propio ( Santiago), + 385 pp. $42.00 pbk. The relationship between Cuba and the Soviet Union from 1959 to 1991 in general attracted much academic attention, but what did not were the cultural links between the two countries. Moreover, many felt that cultural ties had not really existed or even mocked those that had. Yuri Pavlov, former head of the Latin American Directorate of the USSR Foreign Ministry, illustrates this perfectly when in the early 1990s he wrote, ‘Culturally, Russian, Ukrainians, Byelorussians, and other nations of the USSR were too different and far from the Cubans to develop a strong affinity and kinship during the long period of their political friendship. Common ideology was a poor substitute to its growth […] Soviet-Cuban cultural ties were superficial’ (Pavlov, 1994: 249). However, this is to ignore the cultural ties that not only existed in the 30-year period between 1959 and 1991, but both those that existed before the Cuban Revolution and those that have survived or reappeared in the post-Soviet era between Cuba and Russia. It is the later of these which is the focus of this highly interesting work by Damaris Puñales-Alpizar. This is not just important in itself, but is also systematic of both the increasing number of references which both governments make to the longevity of the relationship and also the present robust nature of the bilateral relationship between Cuba and Russian evidenced by Raúl Castro and Dimitry Medvedev both twice visiting Moscow and Havana, respectively, since February 2008 and Vladimir Putin visiting the island in July 2014. Puñales-Alpizar does an excellent job of tracing the history of the cultural links between the two countries, including the creation of the Institute of Cuban-Soviet Cultural Exchange in Havana in the summer of 1945 and Cuban art exhibitions that were staged in the Soviet capital in the 1940s. Puñales-Alpizar examines various aspects of the Soviet legacy that have become apparent in Cuban culture in the post-Soviet period. Among others this includes key texts by the Cuban authors José Manuel Prieto and Jesús Díaz and the work of the rock group Porno para Ricardo. Highly interestingly the author also conducts an analysis of the films Soy Cubano, Océano and Lisanka which were produced in both the Soviet and post-Soviet era, which allows comparisons to be made between the cultural links in these different stages of the relationship. The 2007 Cuban documentary 9550 (the distance in kilometres between Cuba and Russia) which examines the Soviet legacy is also analysed. Puñales-Alpizar also studies the BBC work conducted in August 2011 on Soviet objects which continue to be used in Cuba and exhibitions held in Cuba which focus on the Soviet Union. This includes the exhibition Vanguardias soviéticas. De la formulación abstracta a la utopía humanística'staged in Havana in the summer of 2011. In addition to this, Puñales-Alpizar also references the work that has focused on Cuba and Russia since 1991 that has been published by ‘western’ academics including Jacqueline Loss and Esther Whitfield among others. The main argument of the book is that nostalgia in general is highly important in Cuban society, evidenced by the popularity of the Buena Vista Social Club and that much of the work mentioned above originates from people who grew up during the halcyon days of Cuban-Soviet relations from 1959 to 1991. This is undoubtedly correct, but due to the longevity and nature of the relationship in this 30-year period it would have been much more surprising if there had been no legacy impacting on Cuban culture in the period since 1991. Perestroika is mentioned briefly at points throughout the book and I was a little surprised that the significance of glasnost was not highlighted more by the author due to the desire for elements of change that exists within Cuba. This is especially the case in work that has been published outside the island. In a similar fashion the Russian ‘Mir Fund’, which promotes Russian culture throughout the world has not been referenced , which is a little surprising. The book is very well researched, but the Institute of Cuban-Soviet Cultural Exchange in Havana published the journal Cuba y la URSS from 1945 until March 1952 and not 1946 as is stated. However, this does not detract from what is a very well researched monograph. To understand contemporary Cuba and its culture an understanding of the Soviet legacy within this is vital. This book will be of significance to anyone interested in both contemporary Cuba and its relationship with Russia and before it the Soviet Union." @default.
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• W2474592073 date "2015-12-09" @default.
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• W2474592073 title "Escrito en cirílico: el ideal Soviético en la cultura Cubana posnoventa - by Puñales-Alpizar, Damaris" @default.
• W2474592073 doi "https://doi.org/10.1111/blar.12433" @default.
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