By Miguel A. De La Torre
For lots of in Miami's Cuban exile group, hating Fidel Castro is as traditional as loving one's youngsters. This hatred, Miguel De los angeles Torre indicates, has actually taken on spiritual importance. In l. a. Lucha for Cuba, De l. a. Torre exhibits how Exilic Cubans, a as soon as marginalized team, have risen to strength and privilege--distinguishing themselves from different Hispanic groups within the United States--and how faith has figured of their ascension. throughout the lens of faith and tradition, his paintings additionally unmasks and explores intra-Hispanic buildings of oppression working between Cubans in Miami.Miami Cubans use a non secular expression, l. a. lucha, or "the struggle," to justify the facility and privilege they've got accomplished. in the context of los angeles lucha, De l. a. Torre explores the spiritual dichotomy created among the "children of sunshine" (Exilic Cubans) and the "children of darkness" (Resident Cubans). studying the new saga of the Eli?n Gonz?lez custody conflict, he exhibits how the cultural development of l. a. lucha has turn into a fantastically Miami-style spirituality that makes el exilio (exile) the root for non secular mirrored image, figuring out, and practice--and that conflates political mobilization with religious that means in an ongoing disagreement with evil.
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Additional info for La Lucha for Cuba: Religion and Politics on the Streets of Miami
When Exilic Cubans are lumped together with Mexicans, Puerto Ricans, and other Latin Americans under the term Hispanic and/or Latina/o, the power and privilege achieved by the Miami community, largely composed of those with light skins and of upper- and middle-class status, is masked by the religious discourse claiming a Latino/a religious commonality. Also absent from the discourse is the Exilic Cubans’ attempt to identify themselves with the Euroamerican dominant culture, and thus against other Hispanic groups.
Only those aware of this sacred element can truly grasp ajiaco Christianity’s impact on the Exilic Cuban social reality. Yet Exilic Cubans have interpreted the sacred as a civil religion that supports, gives meaning to, and provides hope for el exilio, a term mainly used by Exilic Cubans to name their collective identity. The term con- 22 A N A J I AC O C H R I S T I A N I T Y notes the involuntary nature of displacement and constructs them as sojourners in a foreign land. El exilio is an in-between place, a place to wait and hope for a return to the promised land.
24 Exilic Cuban superstars like Gloria Estéfan, Willy Chirino, Arturo Sandoval, and Andy Garcia made pilgrimages to Elián’s house. The Fox Family Channel produced the ﬁrst Elián movie, which aired in September 2000. Why all the fuss over Elián? Because Exilic Cubans read their story in the story of Elián. ”25 According to Silvia Iriondo, president of Mothers Against Repression, “In that child, we saw all the pain and all the suffering of forty-one years. Elián symbolizes the pain of the Cuban family, the Cuban families that throughout forty-one years of oppression have been divided by one man and one system” (Bikel 2001).