SKU: 90315591696

Marta Ramos - El gallo en verde

Sale price$135.00 Regular price$150.00
Save 10%

Pay in installments of $37.50 with ShopPay, AfterPay and Klarna

Shipping Estimate
USA
  • USA
  • CAN

Ships within 48 hours · Estimated delivery Aug 2 - Aug 7

Promo Codes Available:

For Your Every Summer RSVP, with Code: SUMMER15

Description

Marta Ramos - El gallo en verdeThis is a gorgeous original ink drawing, on paper, and it measures about 14" x 10" (35cm. x 25cm.). Meme Amaya is a talented, and fairly well regarded local artist in Havana. She is now 90 years old. This is a satire on the cockroach regime in Cuba. Cuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. Despite a series of repressive governments the art scene has

This is a gorgeous original ink drawing, on paper, and it measures about 14" x 10" (35cm. x 25cm.). Meme Amaya is a talented, and fairly well regarded local artist in Havana. She is now 90 years old. This is a satire on the cockroach regime in Cuba. 

 

Cuba is a goldmine of talent. From the Russian influences, to the classical European artists, that many of the Cuban Masters studied with. 

 

Despite a series of repressive governments the art scene has historically thrived in Cuba, where culture occupies a prominent place. Art played a key role in the Cuban revolution and there are currently about 14 art schools, a University of Fine Arts, as well as 13,000 ‘registered artists’ on the island, as Rene Duquesne of the National Council of Visual Arts points out.


The African presence in Cuba is undeniable, incredibly strong and visible but because of the practice of whitening in the US, it is possible to shed, deny, or simply omit one's blackness in order to melt into the dominant, acceptable identity group in Miami. Here it is both possible and common to refer to being Cuban, refer to one's self as “white” while showing pictures of generations of family that include a Black abuelo or abuelita. So when we talk of Afro-Cuban art, we have several distinctions – art that pays homage to African heritage and culture, art by Black Cubans, art that makes reference to Afro-Cuban culture, and none of these are mutually exclusive. As a “movement,” Afro-Cuban Art involves bringing what is Black about Cuba to the forefront and an important linking with Black diaspora arts as a much larger field or landscape. It is one in which Black/ Afro-Cuban lives matter.

 

Afro-Cuban art has given the world, and the African diaspora in particular, a symbolic language with which to speak to and about African spiritual systems, specifically with regard to the orishas. The iconography of spiritual African systems from many nations – Yoruba, Fon, Dahomey, Congo, Ketu, Ijesha, Egbado, Oyo, Nago, Jeje are all a part of what has become Afro-Cuban art. Here there are so many points of reference that people from throughout the African Diaspora will feel and see a “familiar” energy in a variety of artistic mediums in Cuba and the Cuban diaspora.

By using this symbolic language, embedding it in painting, music, sculpture, textiles, and other mediums the narrative histories of West and Southern Africa (specifically Yoruba and Congo) that didn’t exist visually as art for art sake in Africa have significantly contributed to the globalization of Lucumi/orisa culture and positive associations with Cuban culture worldwide. The Lucumi tradition also understood as Afro-Cuban religion, has given us a new world lens on ancient African traditional spiritual systems by creating visible representations that offer a new and necessary lingua franca that we recognize as part of Cuba, bringing together African aesthetics from many different nations.

 

As such Afro-Cuban religion has travelled extensively and influenced the world. It is possible now to see certain images and identify them as representations of Oshun, Oggun, Exu, Obatala, Shango, Oya, Ochossi and their tools as both overt and imbedded in artistic forms. This is a major specific contribution Afro-Cuban art has made to the world – it has in this way made visible narratives which only existed orally and in the minds and hearts of practitioners for many generations. Now, because of Afro-Cuban art, students reading African American novelist Ntozake Shange or viewing international pop sensation Beyonce’s “Lemonade,” can quickly pick up on the Osun imagery because we have a context for a yellow wearing, mirror having, beautiful, brown skinned woman in touch with her own sensuality.

Shipping Notes
  • Free Standard Shipping on $100+ Orders to the USA.
  • Except Preorder products are shipped in 48 hours.
  • Delivery to the USA:
  1. Standard Shipping : 3-10 business days
  • If time is of the essence, please consider selecting expedited delivery for faster service.
Exchange/Return Notes
  • We offer a 30-day return/exchange service after receiving.
  • Final sale items are not eligible for returns or exchanges.
  • To process your return/exchange, please contact us at [email protected]
  • Please click here for more details>>> Return & Exchange Policy
SKU: 90315591696

Discover Niche Categories That Outsell

Top-Converting Item to Boost Your Average Order

4.4 ★★★★★
Based on 9 reviews
Sort
Highest Rating
Newest First
Oldest First
Product Reviews
S
Verified Purchase
Sandy
Draper, US
★★★★★ 5
Great No Fuss Service
Format: Hardcover
Product as advertised and on time.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on May 10, 2026
J
Verified Purchase
JackiBlue
Chelsea, US
★★★★★ 5
Compelling - Beautifully done
Format: Kindle
I was surprised how much I enjoyed reading this. Ms Beaton has done an amazing job of storytelling. So thankful for the recommendation from John Warner - The “BibliOracle” of the Chicago Tribune. Several male members of my family worked in the Tar Sands projects over the last 30 years - mostly on Oil Exploration and the crew management side. But rumors about the rough environment were confirmed in this book. Reading this explains why one important family marriage failed from the “Wild West” behavior that took place there. As Ms Beaton acknowledged, this work provided important income for those who worked the Tar Sands projects. My family included. But the harm to the First Nations People and the environment are just terribly, horribly sad.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 17, 2022
A
Verified Purchase
Amazon Customer
Dallas, US
★★★★★ 5
A human story of how our society operates
Format: Kindle
There's a lot of terms you could use to describe the themes in this book. Capitalism, patriarchy, settler-colonialism, climate change but the book doesn't need to throw these terms around. It just shows them through the eyes of a person who experienced them. There's also a feeling of "there but by the grace of god go I" having been tempted by the possibility of oil work myself during the Great Recession. The story of how our drive for oil eats at our humanity is vital and helps show the cost of how we've structured our society at a personal level. At times funny, heartwarming, and tragic, a fantastically written and drawn work that I have to highly recommend!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on February 18, 2023
S
Verified Purchase
Stuck in Nova
Charlottesville, US
★★★★★ 5
An amazing, if sometimes dark, memoir of work, solitude, and taking a pragmatic path in life.
Format: Hardcover
What do you do, when your only viable financial prospects are to move to even more remote, cold, dark and desolate land where you are part of a corporate mining operation dredging sands for valuable resources, living onsite in a company owned dormitory? Beaton recalls all this in her memoir of her post-university time, where she was faced with this decision to either live and work the oil sands, or face a life of financial bondage trying to pay back student loans, a decision we see many of her own countrymen face as their only viable means to survive. If you are familiar with Beaton's comic strip work, you'll see familiar reference to the genesis of it here, but Ducks is a far more serious graphic novel. Both engaging and often times bleak, Ducks gives a wonderful window into the reality of Canada's oil industry, and the humanity of the people, who are nothing more than cogs in a machine, that run it.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on December 7, 2023
A
Verified Purchase
Agy Wilson
West Palm Beach, US
★★★★★ 5
What is NOT to love about Lynda Barry?
Format: Paperback
I’ve been reading Lynda Barry since the 80s and am currently at work on a graphic novel, that I’m writing and illustrating. I have always believed in learning from the best and Barry has always been a favorite, from the creativity, recall and connections she makes with her work as well as with me (and I assume her other readers as well). This book delves into the connections of words and images, how to conjure and connect, especially with the whole creative vibe. She works with young people and the pipeline to that cerebral communication is appreciated and thought provoking as well, as my work will be geared to a younger audience. This is for anyone who interested in the process of sequential art, creating comics, characters, connecting with creative elements, it’s also a visually stunning book (again, the nerd in me, loved all the cross-references with the visual and other, using calligraphic and other historic, formal art elements along with the more personal character, visual creations and exercises. Thought-provoking and image inducing, indeed!
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on September 2, 2020

recommand products