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AfroCubaWeb
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Sergio Giral is an American citizen born in Havana, Cuba out of a Cuban
father and American mother. He was raised in New York until he returned to
Cuba at the time of the Revolution in 1960. He began working for The
Cuban Institute of Cinematographic Art and Industry (ICAIC), in 1961. He went on
to make a number of short films, documentaries and features. With more than
30 years of experience as a film director and scriptwriter, Giral has
dedicated most of his films to Afro-Cuban and Caribbean
history and culture. His famous trilogy depicting historical
considerations on 19th century slavery in Cuba and the Caribbean have
achieved numerous awards and recognitions around the world. Sergio Giral
return to United States in 1991. --
www.imdb.com/name/nm0320583
THE INVISIBLE COLOR: BLACK IS MORE THAN A COLOR 8/18/2018 ADIFF: "This
latest documentary by the Dean of Afro-Cuban Cinema Sergio Giral
investigates the black Cuban exile community in South Florida, since the
first wave of political refugees in the 1959 revolutionary aftermath, to
today. It tracks its presence throughout the region, and highlights its
contribution to Miami’s civic culture through testimonies and visual
documentation."
|
The Invisible Color
The Invisible Color: Black Is More Than a Color 8/20/2018 Chicago
Reader: "Once he settles into a rhythm of talking heads and archival footage, we
learn about the divisions between Latino Cubans and black Cubans: how the first
wave of migrants fleeing Castro's revolution in 1959 were relatively well-off
Hispanics who had more to lose by staying on the island, while the Afro-Cubans
who arrived via the Mariel boatlift in 1980 were generally much poorer. The
prejudice the Marielitos faced in Miami stemmed in part from their colonial
slave ancestry, and was complicated by Castro's antidiscrimination reforms,
which initially were only cosmetic."
Strong Caribbean Film Line-Up In 12TH ANNUAL D.C. AFRICAN DIASPORA INTERNATIONAL
FILM FESTIVAL August 17-19, 2018 8/18/2018 Jamaicans: "The Invisible Color:
Black Is More Than a Color by veteran Afro-Cuban filmmaker Sergio Giral
investigates the black Cuban exile community in South Florida, since the first
wave of political refugees in the 1959 revolutionary aftermath, to today. It is
presented in THE AFRO-LATINO PROGRAM, with US/Honduras production Revolutionary
Medicine by Jesse Freeston & Beth Geglia."
THE INVISIBLE COLOR: BLACK IS MORE THAN A COLOR 8/18/2018 ADIFF: "This
latest documentary by the Dean of Afro-Cuban Cinema Sergio Giral investigates
the black Cuban exile community in South Florida, since the first wave of
political refugees in the 1959 revolutionary aftermath, to today. It tracks its
presence throughout the region, and highlights its contribution to Miami’s civic
culture through testimonies and visual documentation."
www.facebook.com/theinvisiblecolor
"While any visitor to Cuba will notice the ubiquitous
presence of Afro-descendants everywhere, and they have become the public image
of the post-Soviet Cuban diaspora in Europe and around the world, black Cubans
are invisible in the biggest Cuban enclave outside Cuba: South Florida. The
Miami exile is white. Although there was about a 10% of Cubans of color in the
pre-1990s exile waves, only a tiny fraction of them stayed in Miami, where
non-white Cubans made only a 2% of the total. The Cuban revolution exodus
occluded a U.S. civil rights movement in which the newcomers, by and large, did
not participate, setting Miami in “an alternative path for race relations,”
according to historians. Consequently, the city has remained one of the most
segregated and racially unequal in the country, and black Cubans have tended to
bypass it for friendlier places farther north and west. Research has shown, in
addition, that those who stayed did not benefit from the enclave’s economic and
social networks, and in the context of a lingering residential segregation,
settled in black neighborhoods and integrated into the African American
community within one generation. The result is that the faces of Cuban exile are
exclusively white." --
www.indiegogo.com/projects/the-invisible-color
The Invisible Color 5/8/2015 IndieGoGo: go here to donate.
Dear Ileana Ros-Lehtinen 5/4/2015 Twitter @giralmedia:
@RosLehtinen Dear Ileana
Ros-Lehtinen: It's an honor announcing you my campaign in Indiegogo
http://t.co/GNih99vvWa
— sergio (@giralmedia)
May 4, 2015
InvisibleColor 2 Trailer XDCAM 4/29/2015 Sergio Giral - YouTube: "The
Invisible Color documentary investigates the black Cuban experience in United
State and Miami Dade County in particular, since the first wave of political
refugees in the 1959 revolutionary aftermath to today, tracks its presence
throughout the region, and highlights its contribution to Miami’s civic culture
through testimonies and visual documentation."
THE INVISIBLE COLOR 10/11/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: with pics
THE INVISIBLE COLOR 9/1/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: "The
invisible color is a living testimonial of the experience through the eyes of
Black Cubans everyday life in Miami Dade County in particular, highlighting
their mayor occupations and contribution to society as well their life in
contemporary Cuba. Cubans and their descendants represent the largest
demographic group of Hispanic in South Florida, yet the Black Cubans has gone
largely unnoticed due to the Census having limited the reporting on them as just
as “Hispanic.” "
THE INVISIBLE COLOR 1/29/2013 THE BROKEN IMAGE/ LA IMAGEN ROTA: "Over the
last decades Hispanic immigration have caused a major shift in the demographic
complexion of United State. In Miami-Dade County, this complexion is over 70%
Hispanic -- with immigrants of Cuban descent making up the largest demographic,
while an influx of Central and South Americans is both expanding and fragmenting
the composition of Hispanics in the country. There is a growing group of
Hispanics who have also played a significant role in this complexion – the Black
Cubans – who has gone largely unnoticed, not only to White and Black Americans,
but also to Hispanic Americans whose own social structure historically has
alienated them as a result of race."
See also our page Black Florida | Black Miami
for info on the white Cuban invasion of Miami.
|
Year
|
Title |
| 1967 |
Cimarrón |
| 1968 |
Gonzalo Roig |
| 1973 |
Qué bueno canta usted |
| 1975 |
El otro Francisco - The Other Francisco |
| 1975 |
Rancheador |
| 1979 |
Maluala |
| 1981 |
Techo de vidrio - Glass Roof |
| 1986 |
Plácido |
| 1991 |
María Antonia |
| 1995 |
La imagen rota - The Broken Image |
| 2000 |
Chronicle of an ordinance |
| 2004 |
Al barbaro del ritmo |
| 2010 |
Dos Veces Ana |
The Invisible Color: Black Is More Than a Color 8/20/2018 Chicago
Reader: "Once he settles into a rhythm of talking heads and archival footage, we
learn about the divisions between Latino Cubans and black Cubans: how the first
wave of migrants fleeing Castro's revolution in 1959 were relatively well-off
Hispanics who had more to lose by staying on the island, while the Afro-Cubans
who arrived via the Mariel boatlift in 1980 were generally much poorer. The
prejudice the Marielitos faced in Miami stemmed in part from their colonial
slave ancestry, and was complicated by Castro's antidiscrimination reforms,
which initially were only cosmetic."
Strong Caribbean Film Line-Up In 12TH ANNUAL D.C. AFRICAN DIASPORA INTERNATIONAL
FILM FESTIVAL August 17-19, 2018 8/18/2018 Jamaicans: "The Invisible Color:
Black Is More Than a Color by veteran Afro-Cuban filmmaker Sergio Giral
investigates the black Cuban exile community in South Florida, since the first
wave of political refugees in the 1959 revolutionary aftermath, to today. It is
presented in THE AFRO-LATINO PROGRAM, with US/Honduras production Revolutionary
Medicine by Jesse Freeston & Beth Geglia."
THE
INVISIBLE COLOR: BLACK IS MORE THAN A COLOR 8/18/2018 ADIFF: "This latest
documentary by the Dean of Afro-Cuban Cinema Sergio Giral investigates the black
Cuban exile community in South Florida, since the first wave of political
refugees in the 1959 revolutionary aftermath, to today. It tracks its presence
throughout the region, and highlights its contribution to Miami’s civic culture
through testimonies and visual documentation."
From Black Chileans to Cuban Exiles: These Movies Explore the Afro-Latino
Experience 11/13/2017 Remezcla: "The Invisible Color: Black Is More Than A
Color investigates the black Cuban exile community in South Florida. Initially
conceived as a way to counteract what he saw as a continued if not systemic
erasure of Afro-Cubans in the United States’ cultural imagination, The Invisible
Color continues director Sergio Giral’s interest in putting forth the black
Cuban experience front and center. The film tracks its presence throughout the
region, and highlights its contribution to Miami’s civic culture through
testimonies and visual documentation."
Close-Up on
the Background: A Conversation with Sergio Giral, The Father of Afro-Cuban
Cinema 11/30/2016 Abernathy: "For over fifty years, Giral has amassed a
lifetime’s body of work, writing and bringing to the big screen the history of
the African Diaspora in Cuba from an Afro-centric perspective. Fresh from a
presentation of his newest project at Art of Black Miami, Giral spoke with me
about how he continues to give voice to the Afro-Cuban community through his
unique and thought-provoking films, adding pigment to an otherwise invisible
color."
The Invisible Color 5/8/2015 IndieGoGo: "The founding father of Afro-Cuban
Cinema, Sergio Giral, is helping bring the black Cuban experience onto the
screen." - "Consequently, the city has remained one of the most segregated and
racially unequal in the country, and black Cubans have tended to bypass it for
friendlier places farther north and west. Research has shown, in addition, that
those who stayed did not benefit from the enclave’s economic and social
networks, and in the context of a lingering residential segregation, settled in
black neighborhoods and integrated into the African American community within
one generation. The result is that the faces of Cuban exile are exclusively
white. The Invisible Color seeks to both address and redress this silence, and
showcase Afro-Cubans’ experiences in Miami as both exiles and immigrants, their
relations with their white co-nationals as well as with other resident groups
and the city at large."
Dear Ileana Ros-Lehtinen 5/4/2015 Twitter @giralmedia:
@RosLehtinen
Dear Ileana Ros-Lehtinen: It's an honor announcing you my campaign in Indiegogo
http://t.co/GNih99vvWa
— sergio (@giralmedia)
May 4, 2015
SERGIO GIRAL FILM TRILOGY ON SLAVERY IN CUBA AND THE CARIBBEANS 4/29/2015 THE
BROKEN IMAGE/ LA IMAGEN ROTA: "On my films I always have turn the camera point
of view to the background, where slaves, maids and working class Black
characters traditionally move along. From “The Other Francisco” that tells the
impossible love story between two Black slaves; “Slaves Hunter”, “Maluala” and
“Placido” that count the ordeal of Blacks and mestizos in search for freedom and
equality in Cuba 19th. Century; “Maria Antonia” portraying the tragedy of a
“mulata:” in Cuban Republican times; “Glass Roof” that denounces the privileges
of white workers in a Socialist Cuba with a 60% of Black and mulatto population;
to a more recent film “Two Times Ana” depicting the dreams and reality of a
“colored” market cashier in Miami, my films have intended to contribute to
unveil this invisible color on the screens."
InvisibleColor 2 Trailer XDCAM 4/29/2015 Sergio Giral - YouTube: "The
Invisible Color documentary investigates the black Cuban experience in United
State and Miami Dade County in particular, since the first wave of political
refugees in the 1959 revolutionary aftermath to today, tracks its presence
throughout the region, and highlights its contribution to Miami’s civic culture
through testimonies and visual documentation."
Sergio Giral: a giant of Cuban cinema 2/7/2015 BFI: "Born in Havana in
1937, Giral began his professional life as a painter in New York City. Barely
surviving in the US, he returned in 1959 at the age of 22 to witness the Cuban
revolution (the Castro-led overthrow of Batista’s government), before becoming
involved – at the behest of legendary cinematographer Nestor Almendros – in the
Cuban Institute of Cinematographic Art and Industry (ICAIC). The ICAIC –
established in March 1959 – was one of the first cultural initiatives carried
out by the revolutionary government, and it was here that Giral developed his
interest in Cuba’s complex colonial history within the context of filmmaking."
THE DISSIDENT MOVEMENTS AND THE RESOURCES TO THE METHOD. 1/16/2015 THE
BROKEN IMAGE/ LA IMAGEN ROTA: by Serio Giral - "For more than a lustrum the
Castro regime has generated a consistent opponent dissident movement, many of
its members have been killed in front of the firing squad and their names have
remained anonymous; others have suffered imprisonment and abuse for decades.
Each new opposition voice has been stifled and repressed behind the bars of a
jail or beating, spitted and dragged through the streets of the cities. These
men and women who have paid the price of rebellion have a name and a story."
La pasión del cine (Conversando de esto y aquello con Sergio Giral). 1/1/2015 Gota
de Agua: "La dirección de un organismo cultural o de cualquier otra naturaleza,
en la Cuba de hoy, es la que determina el diseño de la misma. En el caso del
ICAIC, Alfredo Guevara, su director, tenía una concepción muy abierta de la
raza, quizás como marxista que era no tomaba muy en cuenta este asunto. Cuando
ingresé al ICAIC ya se encontraban allí Sara Gómez y Nicolacito Guillén, junto a
otros jóvenes realizadores blancos. Esa selección estaba en manos de Guevara al
principio, lo que prueba mi anterior consideración. El elitismo del ICAIC no
creo que consistía en el color de la piel sino en el nivel cultural y artístico
del individuo, sin ignorar el potencial de integración política, que el propio
Guevara y el Partido comunista apreciara. Dentro de un régimen autócrata, ese es
el modelo a seguir."
THE INVISIBLE COLOR 10/11/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: with pics
The trilogy of the slavery by Sergio Giral 10/1/2014 Cuba Contemporeana
La trilogía de la esclavitud de Sergio Giral 9/29/2014 Cuba
Contemporanea: "El otro Francisco constituyó la primera tentativa en el cine
cubano –e iberoamericano– de analizar el fenómeno de la esclavitud en su
contexto socioeconómico y político. Diario de un rancheador, de Cirilo
Villaverde, otra de las novelas ochocentistas estudiadas en el proceso de
prefilmación de su ópera prima en el largometraje de ficción, originó Rancheador
(1976), segunda parte de lo que devino una trilogía… Cierra este tríptico y esta
línea temática en el cine cubano –si bien Tomás Gutiérrez Alea contribuyera
magistralmente con La última cena (1976)– Maluala (1979), sobre la lucha de los
palenques y su resistencia heroica contra quienes intentaban exterminarlos."
THE INVISIBLE COLOR 9/1/2014 THE BROKEN IMAGE/ LA IMAGEN ROTA: "The
invisible color is a living testimonial of the experience through the eyes of
Black Cubans everyday life in Miami Dade County in particular, highlighting
their mayor occupations and contribution to society as well their life in
contemporary Cuba. Cubans and their descendants represent the largest
demographic group of Hispanic in South Florida, yet the Black Cubans has gone
largely unnoticed due to the Census having limited the reporting on them as just
as “Hispanic.” "
La trilogía de la esclavitud de Sergio Giral 8/22/2014 Habana Radio: "“La
Revolución estableció igualdad de deberes y derechos, pero desde el punto de
vista del individuo, no se puede negar que existen resquicios de racismo, pues
el colonialismo y nuestro pasado esclavista dejaron marcas de difícil
destrucción. Con el advenimiento de la Revolución cubana y la consecuente
estructuración del ICAIC, de un grupo de veinte cineastas, apenas tres éramos
negros: Sara Gómez, Nicolás Guillén Landrián y yo”. Estas son declaraciones del
cineasta Sergio Giral (La Habana, 2 de enero de 1937) en Brasilia a propósito de
la muestra “El negro en el cine cubano” , promovida en abril de 1988 por la
Asesoría de Asuntos Afro-Brasileños del Ministerio de Cultura."
LA MUJER EN MIS FILMS 8/15/2013 THE BROKEN IMAGE/ LA IMAGEN ROTA: Por
Sergio Giral
ALEJANDRO RIOS: En negro y blanco 4/12/2013 Nuevo Herald: "En el documental
se presenta Roberto Zurbano, por entonces funcionario editorial de la Casa de
las Américas, para decir que el asunto no debía seguir siendo escondido porque a
la larga, los negros cubanos pudieran pensar que pertenecen a otro país como
ocurría en el siglo XIX, donde había una Cuba blanca y otra negra “¿Por qué
–preguntaba por otra parte Corvalán– no podemos hacer filmes protagonizados por
negros ingenieros, abogados o doctores? La respuesta a su interrogante tal vez
la pueda tener Alfredo Guevara, presidente y fundador del Instituto de Cine,
quien solo dio cabida a esclavos y cimarrones en la filmografía del ICAIC.
Cuando temprano el cineasta Sergio Giral intentó escapar de ese sortilegio con
los filmes Techo de vidrio y luego María Antonia, debió tomar el camino del
exilio pues la presión era mucha."
THE INVISIBLE COLOR 1/29/2013 THE BROKEN IMAGE/ LA IMAGEN ROTA: "Over the
last decades Hispanic immigration have caused a major shift in the demographic
complexion of United State. In Miami-Dade County, this complexion is over 70%
Hispanic -- with immigrants of Cuban descent making up the largest demographic,
while an influx of Central and South Americans is both expanding and fragmenting
the composition of Hispanics in the country. There is a growing group of
Hispanics who have also played a significant role in this complexion – the Black
Cubans – who has gone largely unnoticed, not only to White and Black Americans,
but also to Hispanic Americans whose own social structure historically has
alienated them as a result of race."
Entrevista al cineasta Sergio Giral 3/10/2012 Teresa Dovalpage: "Giral
acaba de publicar un libro, Villa Miseria, cuya trama tiene lugar en Cuba, entre
la bohemia de El Vedado. Sobre éste, y sobre su carrera artística, trata esta
entrevista."
Dos veces Ana, de Sergio Giral, o el renacimiento de un cine de claves
históricas e irónicas. 12/29/2011 Zoe Valdes: "Sergio Giral es, como
recordarán, el autor de varias películas importantes del cine cubano,
controvertidas en su gran mayoría, porque viviendo y actuando en medio del
castrismo se atrevió a tocar el tema racial a través de claves históricas muy
particulares en la idiosincracia cubana, y además en algunas ocasiones realizó
críticas directas sin tapujos ni metáforas a la sociedad castrista a través de
la ironía y valiéndose de una gran cultura pictórica y cinematográfica. Sergio
Giral se exilió a principios de los años noventa junto a Armando Dorrego, en
París, pero rápidamente ambos viajaron a Estados Unidos, a Miami, donde aún
residen. Armando Dorrego es coguionista y productor de Dos veces Ana, también
con una trayectoria cinematográfica reconocida."
Beyond
bling-bling: rap in Cuba 12/1/2011 Red Pepper: by Sujatha Fernandez -
"Cuban artists had perfected techniques of metaphor, allusion and ambiguity.
Just as filmmakers such as the legendary Tomas Gutiérrez Alea or the black
director Sergio Giral defended the racial politics of some of their films by
saying that they took place in the era of slavery, so too the rapper Magia of
Obsesión defended her song about prostitution by saying that it was about
capitalist countries. But Magia had never seen a capitalist country, nor even
left Cuba, when she wrote the song. The result is a textured and evocative
account of the poor women who work the streets in barrios such as Central
Havana, but with no details to identify them as such. The song takes on a
universal appeal because of the necessity of the artist to dissemble."
SERGIO GIRAL Y JESÚS HERNÁNDEZ CUÉLLAR CONVERSAN 1/18/2010 Cine cubano, la
pupila insomne: "Con más de cuatro décadas como director de cine, Sergio Giral
tiene lista su próxima película, “Dos Veces Ana”, después de un extenso período
sin realizar largometrajes de ficción. La mayor parte de su obra cinematográfica
la dirigió en su natal Cuba, y casi toda esa obra estuvo dedicada al rescate de
temas raciales. “Cimarrón” (1967), que fue su primera cinta, “Rancheador” y “El
Otro Francisco” (1975), o “María Antonia” (1991) hasta la película sobre Benny
Moré, “Al Bárbaro del Ritmo” (2004) se proyectan en esa cuerda. “Dos Veces Ana”
no tenía por qué ser la excepción."
www.imdb.com/name/nm0320583
en.wikipedia.org/wiki/Sergio_Giral
es.wikipedia.org/wiki/Sergio_Giral
Sergio Giral - EcuRed
Sergio Giral
YouTube Channel
www.dosvecesanathemovie.com
www.giralmedia.com
www.africanfilm.com/maluala.htm
2015: Sergio Giral is
raising
funds on IndoGoGo for a new documentary (fundraiser is closed)
"The Invisible Color documentary investigates the black Cuban experience
in United States and Miami Dade County in particular, since the first wave
of political refugees in the 1959 revolutionary aftermath to today, tracks
its presence throughout the region, and highlights its contribution to
Miami’s civic culture through testimonies and visual documentation."
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