Abstract
Homophobic discourses articulated as part of modern national precepts have been publicly expounded by Cuban nationalist leaders from the earliest days of modern Cuban history, and their discussions have often defined the homosexual body, implicitly or explicitly, as a threat to the health of the body of the nation.1 But since the latter part of the twentieth century there have been some obvious changes in the resignification of the homosexual issue in Cuban society. There are now clear indications of a crisis in the Cuban public imagination concerning the supposedly natural relationship between heterosexuality and citizenship. The questioning of this relationship is manifested in many cultural phenomena: from Reinaldo Arenas' works and persona to the critical and popular success of the film Fresa y chocolate; from popular songs like Pablo Mila n?s' Pecado origina?' and Pedro Luis Ferrer's ?l tiene delirio de amar varones to the docu? mentary on transvestism Mariposas en el andamio? Although lacking institutional bases which
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