Cultivating Resilience: Unveiling Cuba's Agricultural Intellect

Edited by Barney Pau

(for this article, the author has contributed images from her family’s own agricultural past - taken around 1955, in Panagitsa, Edessa in Greece)

Coming from the small village of Guzmán by the Douro River in Spain, Asunción Molinos Gordo has been surrounded by farmers her whole life. The researcher and artist’s practice focuses on contemporary peasantry, land usage and food production. Through her unique perspective, she brings forth a narrative that captures the essence of rural life and the prominent connection between tradition and industrialization within the context of agriculture. Having engaged in various projects with farmers in Egypt, Jordan and Palestine; she has skillfully translated the information she has collected over the years into art.

Asunción’s practice centres on her desire to preserve the knowledge of people working with the land. Whether through installation, sound or photography; her artworks become multi-sensory experiences which encapsulate a greater narrative, symbolising a commitment to something beyond the optics.

When she was invited to participate in the 2019 Havana Biennial, Asunción decided to bring three farmers with her to Cuba; Diego Cabrito, Josué Molinos and David Tirso de la Cal - or, as she calls them, the last generation of farmers in Guzmán. Like in many rural areas globally, the farmers of Guzmán are heavily dependent on the use of chemicals, subsidies and financial support from banks. Coming from this background, these three men were willing to explore more innovative farming methods and explore more sustainable and ecologically conscious methods. Over their fifteen-day trip, they travelled through regions that are immensely significant for Cuba’s agricultural present and future. 

On their journey, they connected with local farmers through conversations and storytelling. Inspired by this idea of a farmer’s exchanging wisdom, Asunción titled her project De Campesino A Campesino [Farmer to Farmer]. This project leans on the Campesino movement that started in Nicaragua in the 1970s, and then spread throughout South America and the Caribbean, including Cuba. Unlike traditional approaches, this method strongly emphasises the ecologically focused principles and practices of agroecology. 

In Cuba, agricultural knowledge is predominantly transmitted through informal channels. While government-led programs exist to support farmers, they rely primarily on mutual support through the exchange of advice and information. By navigating challenges together like this, they have formed a tradition of passing down generational wisdom. Through these informal networks, Cuban farmers not only ensure their own success but contribute significantly to the broader goal of food security for the entire population. The essence of this collaborative and appreciative movement is deeply embedded in Asunción’s project.  

A team of volunteers sent by US Department of Agriculture to Panagitsa in 1955, in an effort to “educate” the local farmers on new farming techniques.

Cuban farmer’s commitment to small-scale agriculture and holistic approach to farming has positioned the country at the forefront of sustainable practices. Following the collapse of the Soviet Union, the Cuban economy was significantly challenged, forcing its citizens - especially farmers - to become self-sufficient. The tightening of the U.S. embargo intensified these difficulties, leading to shortages in vital agricultural resources, including fertiliser, pesticides, and fuel. In response to these challenges, the farmers had to swiftly adapt, turning to sustainable practices such as crop rotation and biological pest control. The revolutionary nature of these on-the-ground practices, in combination with shifting focus to the farmer as the expert, served as an inspiring agricultural model which continues today.

Following this Cuban model and shifting our perspective on farmers involves acknowledging and valuing their contribution of expertise, which sits beyond the confines of academia. For when farmers engage in these practices, they not only exchange techniques but also contribute to an ever-growing collective body of wisdom. Their skills extend beyond traditional academia, encompassing a multidimensional understanding of the ecosystem. 

This has been of great importance to Asunción, who highlights the importance of perceiving these farmers as intellectuals in their own right. Her approach reframes peasants as individuals with a transformative power to build a legacy of shared experiences that goes beyond their stereotypical representation.

In De Campesino A Campesino, she chose to maintain a purposeful distance, allowing authentic exchanges between the farmers to unfold organically. Mirroring the farmer’s innovative practices, her project deliberately resists categorization within a specific art medium and challenges the conventional perception of art. In this, it follows the situationists' logic, where the artists’ emphasis shifts from traditional mediums to active participation. 

Cuba’s resilience and dedication to sustainable farming practices is truly inspirational. The impact of these farmers’ interconnected collective knowledge systems not only enriches local communities, it also contributes to a broader understanding of sustainable agricultural practices. Asunción’s project successfully embodies the practice of knowledge exchange while respectfully portraying farmers as the real innovators of their field. Her work engenders empowerment and agency among farmers, promoting the more widespread adoption of sustainable and thoughtful practices. Through the portrayal of farmers as proactive contributors to a more optimistic future such as Asunción’s, helps contribute to a more nuanced and inspiring narrative, and might help us see beyond the conventional depictions of agricultural communities.

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This article is a contribution from one of the participants on The Gramounce Food & Art Alternative MA 2023-24 cohort. Their writing is inspired by one of our seminars, or responds to a similar field of interest within food & art.

Mrs Akritidou and the volunteer Nettie Redekop, 1955.

Panagitsa population posing with a new breed of cattle, 1955, introduced by the US Department of Agriculture volunteers. The breed did not succeed locally, as it was not adapted to the local conditions.