It belongs to the work my Africa


In their investigation on the sincretismo in Wifredo Lam's work (4), Lázara Menéndez affirms that: "it is not satisfactory the identification of the Afro-Cuban popular religiosity and Wifredo Lam's work." Sustains this thesis, a deep investigation carried out about the artist's repertoire iconográfico and the variability with which is used . It is certain that Lam studies and it uses elements of different cosmogonies expressly, in its universal symbolic meaning and by means of a process of conceptual appropriation. I consider that it is part of the artist's creative process and don't unite exception, the treatment expressed with the representation of Eleguá mentioned by this investigator. It is part of a process of design of icons starting from universal categories and the artist's personal conceptualizations; numerous specialists value the plastic representation of the African thing in their works by means of a system iconográfico based on categories of universal signs. In the interview carried out the painter by Gerardo Mosquera, Lam said: "Africa was not only robbed of its men but also of its conscience (...). In this (he refers to The Jungla, the demarcation is made by the author) and in my other squares I intended to put on the black objects in function of its landscape and its own world. My painting is a descolonización act, non physics, but mental. In Africa they consider me the best painter in that continent, although I have hardly visited him."

It is in that context and with that intention that numerous specialists coincide in that there are not explicit references in their works, but universalización, construction of symbols starting from the study and that the artist consummates genially in a plastic form that the spectator can recognize as if it was arquetípica.

Roberto Diago Querol is another of the Cuban painters in whose works references will appear to the Afro-Cuban world. Born in Matanzas, graduates in San Alejandro in 1941 and acts as Professor for the School of plastic arts of Matanzas from 1945 to 1957. Starting from the years /60, coinciding with changes introduced by the Cuban Revolution, a freedom is manifested in the practice of religious cults that before were deferred, because the systems of political power of the stage between 1902 and 1959, maintained the institucionalización of the Catholic religion and its preeminencia on other cult forms. It also happens a process of systematizing of the artistic education in the whole country that facilitates the access of people with vocations toward the art to the levels of basic, half study and superior; as well as a specialized attention to deepen in the vocational development for those who are interested.

In the period of 1960 and until final of the decade of those ' 80, artists' promotions appear inside those which, there are creators with works sustained in the influence of the Afro-Cuban culture and in the poetic of their ritual representations. One of the most important Cuban painters that treat the Afro-Cuban topic explicitly is Manuel Mendive, born in a family that conserves the traditions yoruba and practitioner of the Rule of Ocha or Santería, the artist it is graduate of the Academy of fine arts of San Alejandro, in Havana. The Cuban critic Gerardo Mosquera has carried out important works on his work, he has investigated his creation process and his capacity of incorporating external elements inside his personal world, achieving a passed over aesthetic coherence of wise ingenuousness. In The House of the Orishas, a house temple that is in The Marina neighborhood, city of Matanzas; there is an altar of the Virgin of the Charity of the Copper (Ochún) with a work of Mendive carried out in situ.

Starting from the decade of those ' 90, in the investigation carried out by Yissel Arce Padrón and Ania Rodríguez Alonso have more than enough visual arts in Cuba and he studied fundamentally this period, it is pointed out: "The boarding of the popular religious field has been now one of the elements that serves as bridge between the current plastic production and the previous one, treaty from the coordinates of the new expressive courses. The ritual component can appear hidden in the adulterated facade of the mockery or allegory, metaphor (...). This panorama is shown as fertile land to welcome in the field artistic popular credos" (5). Maple and Rodríguez mention artists José Bedia, Zayda of the River, Rubén Toasts Llorca, Raúl Cańibano, René Francisco Rodríguez, Julio Neira, Rolando Vázquez, Marta María Pérez, Carlos Estévez, relating their direct linked works or indirectly with the popular cult to San Lázaro.

(4) Menéndez, Lázara. - AN Eleguá to come closer to the cyclops. ARTECUBANO Number 1/2000 have. Pp. 72. Ministry of Culture, Havana, Cuba.

(5) maple Census, Yissel and Rodríguez Alonso, Ania: "The relationships of power in the devotion to San Lázaro. ARTECUBANO Number 1/2000 have. Pp. 19. Ministry of Culture, Havana, Cuba.

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