Feminist theory and praxis move in a plural and heterogeneous space. Different views, options and approaches are found within feminism when it comes to defining goals and strategies in political action. These different approaches have produced multiple ways of understanding the role of institutions, the tactics and methods of pressure, the definition of power, etc. They address political psychology as a discipline focused on the interrelationships that occur between political and psychological phenomena. However, from our understanding, the major contribution of feminist criticism is to have revealed the political construction of identity. This process has been accomplished by both theoretical feminism and the women's political movement. Contemporary feminism brings out the view of identity as a problem, leaving behind former theoretical and practical positions in which identity was either controlled or resisted. It also changes the reception of both subjectivity and politics. This shapes new epistemic positions that are meaningful for political psychology: feminism moves the borders between what is and what is not political and strongly questions the psychological 'treatment' of political problems. Here we will attempt to explain these implications. IDENTITY AS A PROBLEM Different approaches within theoretical feminism, all rooted in poststructuralism, have shown that power and subjectivity are not separate entities. They have pointed out that power mechanisms are directly articulated by psychological processes, sensations and pleasures (
A pesar de las numerosas medidas redistributivas que la Revolución cubana llevó a cabo desde sus inicios, la crisis del denominado Período Especial ha tenido graves consecuencias para el colectivo de los afrocubanos, que integra buena parte del sector más pobre de la sociedad cubana. Por su parte, la pérdida de numerosas prebendas sociales y el crecimiento de la competitividad han hecho emerger prejuicios sociales que se habían mantenido latentes. Desde los años noventa, las artes visuales, al igual que otras manifestaciones culturales como la música rap, han planteado un debate público sobre la creciente fractura social y el auge de la desigualdad racial. Desde 1997 a 2011, la secuencia de exposiciones denominada Queloides ha presentado el trabajo de un número de artistas que se han centrado en considerar aspectos relacionados con la raza y el racismo. Una de las estrategias utilizadas en la obra artística para discutir los procesos sociales de racialización ha sido la representación de las prácticas religiosas afrocubanas, que hasta entonces habían sido marginalizadas o reducidas a folclore. En este contexto, el principal objetivo de este artículo es analizar cómo el uso del legado religioso afrocubano le permite a un número de mujeres reflexionar en su obra artística sobre la dimensión de ciertos marcadores de la identidad, como lo son la raza, el género y la etnicidad. El artículo considera en especial cómo el trabajo de estas artistas se alimenta de la subjetividad de éstas, siendo concebido como un espacio para la reinvención, donde la identidad se reestructura y redefine.
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