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Abstract
In February 1904, American itinerant photographer Sumner W. Matteson, a native of Decorah, Iowa, visited Cuba for about four months. He travelled extensively throughout the island and took over five hundred photographs. It was the first time Matteson had left the United States and, upon reaching the island, he headed into the countryside and began to photograph a wide range of individuals. Matteson's documentary work represents an image of Cuba that was relatively unknown in the United States at the time. His photographs cut across racial, gender, class, and geographic lines, and portrayed Matteson's subjects with a sense of pride and agency. This paper will argue that Matteson portrayed Cuba and its people with an intimacy unlike that of any photographer before him — this during the founding years of the republic, shortly after a four-year American occupation, and at a time when Cubans were seen as exotic others. The photographs reveal a multi-hued population of blacks, mulattoes, and whites, male and female — subjects rarely portrayed sensitively in photographs of the time. This paper will offer some suggestions as to why this white, Midwestern male photographer did not fall into the potentially exploitative trap of representing the Cuban people in the customary way. Matteson's images provide depictions of the Cuban people that had been previously absent, and offered a face of the rural subaltern consisting of both blacks and whites, working-class Cubans, and even a former Rebel Army leader — all less than twenty years after the abolition of slavery in Cuba in 1886.
In February 1904, American itinerant photographer Sumner W. Matteson, a native of Decorah, Iowa, visited Cuba for about four months. He travelled extensively throughout the island and took over five hundred photographs. It was the first time Matteson had left the United States and, upon reaching the island, he headed into the countryside and began to photograph a wide range of individuals. Matteson's documentary work represents an image of Cuba that was relatively unknown in the United States at the time. His photographs cut across racial, gender, class, and geographic lines, and portrayed Matteson's subjects with a sense of pride and agency. This paper will argue that Matteson portrayed Cuba and its people with an intimacy unlike that of any photographer before him — this during the founding years of the republic, shortly after a four-year American occupation, and at a time when Cubans were seen as exotic others. The photographs reveal a multi-hued population of blacks, mulattoes, and whites, male and female — subjects rarely portrayed sensitively in photographs of the time. This paper will offer some suggestions as to why this white, Midwestern male photographer did not fall into the potentially exploitative trap of representing the Cuban people in the customary way. Matteson's images provide depictions of the Cuban people that had been previously absent, and offered a face of the rural subaltern consisting of both blacks and whites, working-class Cubans, and even a former Rebel Army leader — all less than twenty years after the abolition of slavery in Cuba in 1886.
Hasta los tiempos de la Revolución Industrial el órgano, junto con el reloj, eran las máquinas más complejas jamás realizadas. Debido a lo ingenioso, el gran coste y la facilidad de asombrar a la gente con sus maravillas, el órgano y el reloj llegan a ser identificados como símbolos de poder y prestigio, y con el paso del tiempo acaban incorporándose tanto al tejido de la ciudad como de la iglesia. Como en otras zonas de Europa, el órgano en el mundo hispano llego a su cenit en los siglos XVII y XVIII a causa del avance de la tecnología y de la búsqued a de nuevos sonidos, de acuerdo con el afán insaciable de la época por experiencias novedosas. A diferencia del resto de las catedrales europeas, la ubicación central del núcleo litúrgico dentro de los interiores de las catedrales hispánicas significa que el órgano cobra privilegio como foco visual, espacial, y sonoro. La configuración espacial de las catedrales hispánicas con sus naves anchas, condicionaba el desarrollo de una fachada lateral del órgano ibérico, culminando en el siglo XVIII como pantallas gigantes visuales y sonoras — el nexo entre la arquitectura y la música. Esta investigación trata de usar el análisis espacial para explorar la búsqueda en el mundo hispánico por la simetría arquitectónica y sonora, la novedad en lo espacial, y la conmoción en lo sensorial. Importantes ejemplos de esto lo encontramos en las catedrales de Sevilla, México, Granada, y Málaga, donde se puede constatar el importante papel que el órgano gemelo de doble fachada desempeñó en la configuración de la experiencia sonoroarquitectónica del barroco.