Report by Dan Bernardi Syracuse University News. For the full report and virtual tour, go to the original report here.
On the surface, looking at photos from the 1950s travel brochure of palm trees and sun-friendly Caribbean beaches from the 1950s, you can dream of a tropical vacation. But if you analyze the image more deeply, you can reveal a much more complicated past, Christina Paldo PortoAssistant Professor of Latin Literature and Culture at the University of Arts and Sciences (A&S). Faculty of Linguistics, Literature, Linguistics. These stereotype images of the Caribbean, used to promote the travel industry, are not merely innocent portrayals of paradise. “They are part of a larger system of historical and continuous inequality,” points out Pardo Porto. Through critical analysis of photography and artwork, images act as catalysts for social perception and change, encouraging viewers to reflect on and deal with cultural inequality.
Professor A&S Christina Pardo Porto praised Joiri Minaya: Unseing The Tropics wunsing the Tropics, introducing the tropics at the museum on display at the SU Art Museum until May 10th.
Pardo Porto explains that the history of exploitation dates back to the 15th and 16th centuries, when Europeans began colonizing the Americas. Settlers described the Caribbean as a ripe, exotic and fertile land of extraction, reinforcing the idea of ownership and control.
“These stories justified the exploitation of the land and its people and laid the foundation for the modern tourism industry,” says Pardo Porto. “Tourism relies on similar fantasies, such as using idyllic images of beaches, palm trees, smiling locals and selling the area as a escapade for wealthy foreigners. The visual structure of the industry hides the inequality and labour exploitation.”
According to Pardo Porto, the growth and expansion of large hotels and resorts has resulted in deteriorating environments and moving communities that have been forced to move from their own country.
“Natural resources are privatized for resorts, and local workers are often paid low wages, but privileged groups of tourists enjoy the benefits,” she says.
In the spring semester, Pardo Porto Syracuse University Museum We invite visitors to critically examine historical and contemporary images of the tropical region. Its purpose is to help viewers realize how these representations affect the lives of those living within these communities.
“Exhibition”, titleJoiri Minaya: See the tropical regions at the museum;” will be on display at Joe and Emily Lowe Galleries at the Su Art Museum until May 10th. The gallery features the work of Minaya, a Dominican-American artist whose stereotypical representations rooted in colonial history continue to misrepresent her community and identity. Minaya’s work is exhibited along with historical photographs and artwork from the Su Art Museum collection, reflecting the impact of colonization, tourism and commercialization in the Caribbean. Each artwork contains wall texts available in both English and Spanish, created by Pardoporto, explaining the importance of each piece.
Illuminating the visual culture of the Caribbean
The idea of bringing Minaya’s award-winning work to campus comes from Pardo Porto’s long-standing interest in the history of Latin American photography and visual culture. She points out that visual culture covers all images surrounding us, from archival images, art and product ads to photographs taken with telephone cameras and more.
While studying her papers on artistic photography in the Caribbean and Central America regions, she recognized an underestimation in the history of Latin American photography. Since then, many of her scholarships have focused on bringing awareness to the topic.
Pardo Porto is currently writing a book entitled “Potential Photography: Diasporic Refloming of Photography History.” She was awarded Syracuse University Humanities Center Faculty Fellowship The focus will be on writing her books and other related projects in the Spring 2024 semester, including an exhibition of Minaya’s works.
What you see
The two works on display at the exhibition are from Minaya container In the (2020) series, she uses her body wrapped in a cloth in a tropical pattern, in stereotypical and unnatural poses. Pardo Porto points out that this is imposed on images (tropical versions, flowers, etc.) that are imposed on both women (poses) and the landscape.
Container #3 (left) and Container #7 (right) by Joiri Minaya. Pigment print.
“She draws attention to how tropicality is commercialized and consumed, and invites viewers to reflect on their accomplices in perpetuating harmful expressions,” says Pardo Porto. “Minaya not only highlights the absurdity of tropical images, but also encourages viewers to confront and reconsider the seeped stereotypes that they may unconsciously accept and recreate.”
Student involvement
Students in Pardo Porto’s “Theorization of the Central American and Caribbean Diaspora through Contemporary Latin Art (Faculty) and Art” (graduates) class will take part in missions related to the exhibition. Students write about Joyri Minaya’s work and engage in archives and collection materials at the university’s museums and the Special Collections Resource Center. She says this approach helps them explore historical dialogue between images of the past and present.
“Many of our students are unaware of the resources available on our collections or campus. The exhibition offers unique opportunities to learn directly from artists with their work on campus.” She says. “I always include these types of cross campus collaborations, such as the Special Collections Research Center.”
Pardo Porto hopes visitors to the exhibition will gain a deeper understanding of how stereotypical images are created and incorporated into visual culture. “My hope is that students, faculty, staff and communities see and acknowledge the broad ratio of tropicality, get a tool to “not see” actively, corner these restrictive frameworks; It’s about promoting new ways of looking. ”
