Cuban women dating photos
It’s a strange picture, torn at one corner, stained, damaged by time. There are two figures—a toddler, dressed in an Asturian costume, holding a doll in an identical dress, and a slender young woman, who holds her tightly by the hand. Perhaps she does not want to be in a picture, perhaps she is struggling to hold the doll, perhaps it is windy or loud.
They stand on a median in Havana, next to the Malecón. Directly above the child is a sign decorated with reveler’s masks, marking the days or the season of carnival.
Behind the figures, a building’s windows seem either open or broken. If we gaze closely, we see figures gather round a car on the right.
The fading black and white photograph robs us of the essential palette and light of Havana—the blue, the golden light, the saturated textures and tawny skin.
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Although they were deliberately labeled white professionals on arrival in Miami, triangulated by the confrontation of Cold War and civil rights, those tens of thousands of Cubans leaving their country carried a complicated politics.
With one allowable suitcase per person, one toy per child, they carried slender archives and heavy legacies of choice into exile.
The late sixties mark a second wave of Cubans leaving the island: professionals, middle-class, and working class, of many races and social statuses.
They seem to be signs from Havana’s that became a national goal for 1970.
The heroic effort fell short and the harvest came in at just over 8 million tons, but the carnival returned to Havana in 1970.
Reading the picture carefully, one finds a trace of public memory.
The carnival masks, at the distant center of the photograph, mark a rupture, and not only in the composition of the photograph.