![]() As the crosscut scenes reveal more about the two children’s home lives, the audience can plainly see that all, the working class and the middle class, are both struggling. The film shows the stark differences between classes in Cuba, but also the tragic commonalities. Meanwhile, Jorgito’s mother castigates him for suckering up to the “bourgeois” girl and even mocks, ironically, “who does she think she is, the Queen of Spain?” which, indeed, she declared herself in their juvenile game. In the house, Malu’s mother quickly cleans her up and sternly instructs her not to play with that boy anymore, calling him and his people ignorant. They end up arguing in a deadly fierce way that could only indicate two people soon to fall in love, and the calls of Malu’s mother causes the crowd to disperse. When they happen upon Malu playing, she quickly and instantly establishes the viscerally cruel class difference: she immediately declares herself Queen of Spain and Jorgito and his friends her slaves. the boys mimic the soldiers of the revolution in the first scene, donning sticks and toy guns, playing just as sincerely and viciously as real guerrero s. In this case, a division of classes is more prevalent than, for example, the tense racism and ethnic division in the united states. the film begins with a wall– already indicating a division. The two fall in an innocent, prepubescent love, a primary school Romeo And Juliet as Malu comes from a higher class background than he does. In this case, the main characters– a young school-age boy named Jorgito and a precocious little girl named Malu. This paradox is one in which the deity Eleggua thrives, the calamity of separation and duality. ![]() In surprising ways, the film Viva Cuba shows more about Eleggua’s characteristics through the narrative of young children’s lives, than any serious documentary about the economics, politics, or religious culture of Cuba as a country ever could have.Ĭuba is a country that is in itself a paradox– for a Communist country, how such a vehement class war can even exist is somewhat baffling viewed through the Capitalist lens. Others syncretise this dual-headed crossroads god with Janus, Mercury, Hermes, Odin, Loki, Coyote, Aesop, Anansi the Spider, The Southern Blues Devil at the Crossroads, even Satan and sometimes even Jesus Christ himself. Santeria, a derivative of the Nigerian Yoruba spiritual system of Ifa orisa, being a creole religion, is highly syncretised and adapted to the New World as dispossessed and disparate groups of Africans from different tribes enslaved created a new religion. The credit sequences includes a title card that reads a dedication: “To Eleggua.” Eleggua is a god Catholic Cubans identify and syncretise with The Child Jesus, Nino De Atocha, St Anthony de Padua, and sometimes St. The film Viva Cuba begins with a white credit screen, and the first word we hear is a song– a praise song, specifically, for Eleggua, the Cuban god of the Santeria religion. (c) Copyright Gloria Steele-Hatten (omoEsu) January 9th, 2017 5:06pm Atlanta, Georgiaīarasuayo…. Viva Cuba : an invocation of Santeria god Eshu-Eleggua, the Owner of Possibility and Paradox Clients often ask me to “simplify” it, so, while I am satisfied with it enough to post publicly here, I as a harsh self-credit don’t consider it as thorough as I personally would have liked. **Note: this was written for a client– if I were writing it myself, honestly, I would have been alot more detailed and lengthy lol just being honest. ![]() Modupe O Baba, thank you for this assignment.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |