Abstract
Memoirs of Sexile: Mariel Boatlift and the Cuban Queer Archives
Highlights
Memoirs of Sexile: Mariel Boatlift and the Cuban Queer Archives is the repository of my ongoing documentary film Sexilio
This project seeks to build an archive of Cuban queer diasporic memory through oral history and analysis of various cultural texts, such as performances, poems, photos, and magazines
In addition to emphasizing the cultural resistance of the Cuban “sexiles,” this article traces my role as a participant subject in the act of collecting the queer exodus’ memorabilia
Summary
Both films share the same limitation: they want to create an homage to people who are not alive, and to do that, filmmakers must face the lack of the most common materials of social documentation In this process, instead of seeking evidence, a desire to grasp what critics such as José Esteban Muñoz have identified as ephemeral emerges: Ephemera includes traces of lived experience and performances of lived experience, maintaining experiential politics and urgencies long after these structures of feeling have been lived. Art. 11, page 5 of 9 of the Cuban René Valdés, narrates the odyssey of Antinio, who is facing their identity as gay in the postrevolutionary Cuba and as a refugee in the United States All these fictions, and the crucial scholarship of Susana Peña and Julio Capó, consider this migratory process as a perfect chance to justify the purge of undesirable subjects for the socialist project.. It is hard to estimate the number of homosexuals who escaped from the port of Mariel, as Ian Lumsden affirms, “they were numerous enough to be singled out as targets in the mass demonstrations directed against those who opt to leave” (78)
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