Jimena Codina Gonzalez.

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The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.

In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order. The eventual confluence of its distinct cultural elements (i.e. the European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical tradition. The wars for independence that began in the United States and Europe in the eighteenth century created a surge towards political and cultural autonomy that swept across the Latin American colonies, generating a wave of nationalism during the nineteenth century. After finally gaining its independence in 1902, Cuba sought to define itself as a nation. Cubans looked inward to their regional folklore—their indigenous and popular traditions—for the source of their national identity, a trend that became of primary interest to Cuban artists. The nationalist trend found full musical expression during the twentieth century, when composers turned to folklore for their inspiration in creating new art music (works for the concert hall) with a unique sound and vitality. This study concerns itself with the Cuban nationalist movement and its role in the creation of art music by twentieth-century Cuban composers, most specifically that of Mario Abril. The monograph is organized into three general sections: the first section (Chapters 2 and 3) identifies the significant characteristics of nationalism, describes the manifestation of some relevant nationalist movements (e.g., in Europe and Latin America), and explores the manifestation of the nationalist movement in Cuba. The second section (Chapters 4 and 5) provides a history of Cuban art music, concluding with a biographical sketch of composer Mario Abril. The third part (Chapters 6 and 7)consists of a study of the music, beginning with a description of the pertinent characteristics of Cuban popular music, followed by an examination Mario Abril’s Fantasía (Introduction and Pachanga) for clarinet and piano. The document concludes with remarks about the characteristics that qualify the work as an example of Cuban nationalist art music with suggestions for the study and interpretation of the work.

The objective of this thesis draws on my experience acquired during the internship in Galeria De Arte Servando in Havana, where I have been given the opportunity to learn about Cuban culture as well as to witness the restrictions and difficulties in gallery activities due to the communist government. The first part of the thesis focuses on historical facts highlighting the art exchange between Czechoslovakia and Cuba, a common part of running the state institution in the past. It was a common practice both in Havana´s House of Czechoslovak Culture and in the House of Cuban Culture in Prague. After the collapse of the Soviet Union, both houses were closed and the Czechoslovak-Cuban relations in art and culture have never been restored. The study subsequently discusses the concept and realization of the exhibition prepared in collaboration with Cuban curator Yenisel Osuna Morales. The aim of the thesis is to try to initiate a dialogue between two countries, Cuba and the Czech Republic (former Czechoslovakia), countries with many differences, and probably even estranged nowadays. However, their relations were warm before, and they could be in many ways an inspiration. The primary outcome of this thesis is the exhibition project aimed at the topic of censorship in independent art, its influence on gallery activities and freedom of artistic expression in Cuba. The selection of cuban artists carried out by curator Yenisel Osuna Morales represents the topic of pluriculturalism, migration and diaspora. By means of exhibition exchange, I would like to refer to the terminated friendship between Cuba and former Czechoslovakia in the field of art. The purpose of these exhibitions is not only to present Czech contemporary art in Cuba but also to present Cuban art in the Czech Republic without any restrictions.