Film Festival Celebrating Professor Cordones-Cook

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In this October, the University of Missouri celebrates the work of Juana María Cordones on black Cuban women; highlighting her own emphasis on their artistic personalities, with names such as Georgina Herrera, among others. The event is a film festival, with the name of Cuban Women of the African Diaspora: Inspirations for Change; and consists of the series of documentary interviews with which Ms. Cordones delves into the lives of these women.

Unfortunately, what could be a deep look at the African diaspora in Cuba, decays in its manipulation; as a vision skewed by the commonplace —already mediocre— of black poverty and its symbolic existential wealth. In this sense, and as a principle, the whole approach fails because it does not know the hermeneutic value of this presence; reducing it to the usual discourse on poverty and social injustice, with which the negro has been manipulated for so long.

It should not be gratuitous that Mrs Cordones herself is of white race, and of Argentine origin by more signs; it does not matter the ethnic ambiguity of our societies, because we know that this is about behaviors and resources. That is where this opportunity for a genuine approach is lost in mediocre and self-interested manipulation; with emphasis on the false frontality of the complaints about the poor results of the Cuban government in racial matters.

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First, that was never a real interest of that government, starting with the elimination of the black societies; when these societies were highlighted by a work on the sufficiency of the negro, not his dependence.  It is in this context that the mere existence of outstanding blacks is compromised and hijacked by principle; conditioning all development to the ability to overcome the difficulties thrown at them by the same people as always.

These same old ones, whites and academics in general, willing to exploit the precariousness of these blacks; in a fragrant case of updating of the slave trade, this time in the quagmires of postmodern intellectualism.  This is most scandalous in the evidence, when it involves the open manipulation of Georgina Herrera's death; when the same blacks who call themselves Maroons —to sell themselves better—, questioned the authority of her son while being ecstatic with her motherhood.

The complicity of Juana María Cordones with the duplicity of Roberto Zurbano in this, makes it clear that all this is manipulation; and even led to the confrontation of interests, which are rudely exhibited with the self-praise of this festival. It is not something new, nor against what something has to be done, other than to observe carefully as what it is; a process of open decadence, in which the elites rush with their elitism to their own perdition, by the arrogance that obnubilates them.