Sunday, September 3, 2023
Sunday, July 2, 2023
Friday, February 24, 2023
Final Oral History Project-Miami Wealth Gap and Business Oportunities- Florida International University and Catalyst Miami
Este video es el resultado final de un proyecto de historial oral de Florida International University y Catalyst Miami, sobre cómo la brecha de la riqueza impacta las oportunidades de negocios en Miami.
Espero que este proyecto sirva para promover este tipo de conversaciones tan necesarias, sobre todo dentro de la cultura, espacios e instituciones cubanas diaspóricas, en sus diálogos sobre cómo promover esfuerzos democráticos y prósperos que sean inclusivos.
This video is the final result of an oral history project by Florida International University and Catalyst Miami on the impact of the wealth gap in business opportunities in Miami.
I hope this project helps promote this type of conversations, specially within the local and diasporic Cuban culture, spaces and institutions, in their ongoing dialogues on how to promote democratic and prosperous efforts where all voices are included.
Friday, November 25, 2022
Interview-Oral History Project-Miami Wealth Gap & Business Ownership-FIU and Catalyst-October 2022
Agradecida y honrada por esta invitación de Catalyst y Florida International University, para participar en esta entrevista proyecto de historial oral, sobre la relación entre la brecha de riqueza y la propiedad empresarial-oportunidades de negocios en Miami, que tuvo lugar por zoom el pasado octubre del 2022 desde Oakland y Miami.
Para ver el Video-Entrevista-32 min, haga click en el siguiente Enlace
Very grateful and honored that Catalyst and Florida International University from Miami invited me to this interview, about Miami Wealth Gap & Business Ownership, past October, 2022.
To watch the video-interview-32 min-click in this Link
Thursday, November 24, 2022
Invitation-Panelist-"The Beat Goes On: AfroCuban Music and its impact in the United States"-Wolfsonian FIU-Miami, Florida-January 2023
Agradecida y honrada por esta invitación de Florida International University, School of International and Public Affairs y el museo The Wolfsonian-FIU para participar en este panel en Miami sobre el impacto de la música afrocubana en los Estados Unidos, a propósito de una exhibición sobre el tema "The Beat Goes On: AfroCuban Music and its impact in the United States."
Thankful and honored for this invitation to participate in a panel in Miami on the impact of AfroCuban music in the US., in the context of an exhibition on this topic in the Wolfsonian FIU museum: "The Beat Goes On: Afro-Cuban Music and its Impact in the United States."
Thursday, June 30, 2022
Jump @ the Sun-Zine-Class-Female & Non-Binary Creative Voices-African Diaspora-CA-2022
Zine
made by students at the Branson School, CA, using intervention, written text and collage, after an archival and curatorial immersive class I co-designed and taught about Female and Non-Binary Creative Voices across the African Diaspora.
Friday, March 12, 2021
Artivismo Global. El arte de Erik Ravelo. Hypermedia Magazine. Artículo
Contenta y agradecida por la publicación de este nuevo artículo el 12 de marzo del 2021, en HyperMedia Magazine, el cual disfruté mucho escribiendo.
Este articulo es una exploración crítica del artivismo del artista cubano-italiano Erik Ravelo, a través de varias campañas publicitarias de alcance global del centro Fabrica, de United Colors of Benneton, en Italia.
Para leer todo el texto y disfrutar de las piezas, por favor visite este link.
https://hypermediamagazine.com/arte/artes-visuales/artivismo-global-el-arte-de-erik-ravelo/
Wednesday, August 19, 2020
Meet Dr. Eva Silot Bravo: Arts-Education Consultant and Entrepreneur. Shoutout Miami. Voyage Miami Magazine
Meet Dr. Eva Silot Bravo: Arts-Education Consultant and Entrepreneur

We had the good fortune of connecting with Dr. Eva Silot Bravo and we’ve shared our conversation below.
Hi Dr. Eva, what was your thought process behind starting your own business?
Initially, it was a reaction to an unsuccessful 5 year long experience, trying to get hired in the humanities academic market in North America. After 10 years of graduate studies, I needed to find practical and monetary value to that long period of learning and academic training, first at Florida International University and then at the University of Miami. After that, I became a multidisciplinary scholar in International Studies, Cuban Studies, Cultural Studies, Spanish and Latin-American Literatures, with 3 book projects, and several articles to be published or in the process of being written. However, apparently my education and professional background were working against me in the job market. Later on, I realized that my ethnic, cultural, gender and racial background were also factoring my particular experience in the local job market search. Therefore, I decided that creating a company was my only way to provide a platform to my voice, ongoing research, written endeavors, networking, promoting and curating efforts. I also felt the need to find ways to provide service for communities of people in need, by learning about business and exploring further my creative capacities.
When I started thinking seriously about putting together a company, I locked up in my apartment for almost 2 months. I devoted myself to letting my thinking process completely flow out of my body into my writing. I realized I was providing structure, organization and an outlet to the multidisciplinary skills I have acquired throughout the different hats I have worn in my professional and personal life. I didn’t have any support but my own universe and ideas, and a strong desire to move forward and to create a legacy for myself and my son, no matter the challenges. After living and working in the arts in Miami for a while, I gained perspective on certain traditions or ways of doing things I came across, that were kind of outdated and counterproductive. These traditions shaped local culture in particular ways, by creating complacent environments of exclusivity, lack of access, and few spaces for open dialogue, interaction and reflection on relevant common topics among local communities, with few exceptions.
For example, the poor quality of Spanish media and the absence of diversity within Spanish media outlets. The scarcity of art conservatories and arts education programs, booking agencies or art presenters that focus on helping promote or support the development of the uniqueness and diverse local and international talents that call Miami home. The existence of certain divisiveness within the Cuban enclave in terms of class, politics, moment of arrival and generations, and in the relationships between Cubans and other local communities. That creates a lot of prejudices, distances, and makes a lot of artists invisible to institutions.
The lack of systematic documentation, including in the island, on the cultural legacy being produced by Cuban artists in diaspora and across the globe, especially since the turn of the 20th century. That applies especially to the case of Afrocuban and female voices.
More than adopting a critical stand about these challenges I perceived, I wanted instead to act upon or contribute in some way, through putting forward my projects, create an arts education program, and by promoting mutually beneficial collaboration projects.
Also opening the company was the result of a process of awakening and awareness I have experienced since leaving Cuba, about the importance of my African ancestry in my life and professional paths, something that until then I haven’t had the chance nor the proper context to explore about in depth. The above, together with my academic training, led to me to further my path of inquiry on these questions.
Publishing, creating and teaching courses that touch upon or develop further these topics, created in me the need to continue doing a similar educational work outside academia. Another big motivation was the lack of enough local artistic or educational spaces that promote collaboration with or knowledge about local Afro-descendents and migrant communities of knowledge, artistic, entertainment and social justice, as equals. In addition, there’s a lack of systemic conversations about the Caribbean dimension of Miami and what that means for the city’s culture, social life and economy, which host an important number of Afro Caribbean communities.
In this light, I realized I wanted Alafia Creative Entertainment to become a platform for the promotion of education, awareness, events and projects, and for the promotion of Afro descendent and female voices, in particular from AfroCuban, AFroLatin@s, AfroCaribbean and AfroHispanic cultural legacies and communities, which are the less visible and represented across the board. These were among the main motivations that led to the creation of Alafia Creative Entertainment.
Since the important shifts that are taking place after Covid 19, I have focused in my writing endeavors, creating and teaching a fun Spanish Immersion class online for all levels, and in launching two bilingual online podcasts: Miami Alternativo and Word Culture-Cultura de la Palabra, as part of my entrepreneurial endeavors.
With these collaborative projects, I’m keeping the momentum going, documenting the work and legacy of different voices of local and transnational creatives. I’m also extending a platform for creatives to promote their work. Last but not least, I’m promoting conversations to help think about how the challenges we are currently living collectively are impacting and reshaping our creativity, the arts and entertainment industries. I’m also interested in exploring creative ideas on how to move forward in times of crisis, as we are experiencing nowadays.


Alright, so let’s move onto what keeps you busy professionally? What sets you apart from others?
What sets me apart in my creative endeavors I think is my need to communicate, interact and learn from everything I experience. Lately, I’m kind of obsessed by looking for the educational component of everything I do.
Particularly I want to contribute to the path against all forms of intolerance that set human beings and cultural communities apart from each other. Instead my brand focuses on exploring and promoting communication on our commonalities. I also would like to promote spaces of encounter and celebration of our human condition.
In my entrepreneurial adventures I strive for greatness, ethics in all kinds of human relationships, and I put a lot of passion and my personal stamp in everything I do. What I want the world to know about my brand is that Alafia Creative Entertainment is here to stay, to make a difference in the local arts, music, educational and entertainment scenes, by making connections, creating access and promoting possibilities. I’m doing everything I can to make my vision happen. It has not been an easy path. Precisely for all that I have learned in my personal road so far, I’m very optimistic and ready to do whatever it takes to move it to the next level. I’m motivated by my need, personal and spiritual mission to contribute, add value and be in service.



If you had a friend visiting you, what are some of the local spots you’d want to take them around to?
Well, currently we are living in pandemic times, which changes everything. In any case, I ‘d take them to a street walk by Wynwood. There, we will hang out keeping social distancing norms, while contemplating topnotch street art and murals in every corner. To eat, I would take them to Love Life Cafe, where they serve imaginative and delicious vegan food. For drinks, I would take them to one of Wynwood’s breweries, like Veza Sur, where you can find a nice selection of local beers.



Who else deserves some credit and recognition?
Many people, readings and experiences have contributed to where I’m today and to my vision. Among them, coming from a biracial family that was really instrumental instilling a love for education at an early age, as the main motivation to move forward in life. The first books I read from Jules Verne, Mark Twain, Emilio Salgari, Alejandro Dumas and Robert Louis Stevenson, at a moment where traveling outside the island was not possible, opened up my imagination to the notion of different life paths, my curiosity for and desire to travel the world. Also, my experience as a former diplomat in the United Nations, and living between New York and Havana for the most part of my twenties, made a fundamental mark on my identity as a global citizen. Specially I learned so much about human nature and politics, interacting regularly with colleagues from all over the world, in never ending and very stressful negotiations about all UN programs and its biannual billions budget, elaborating and delivering statements, position papers, resolutions and decisions of all kinds, contributing to advancing the international UN agenda on decisions and resolutions on topics ranging from managerial reform, human rights, financial issues, sustainable development, economic questions, gender equality, refugee crisis and all forms of intolerance, among many others. That global vision completed for me when I became a migrant and faced different sorts of challenges, later on in Miami.
Different people throughout my life have been important sources of inspiration, especially strong female voices. Many names come to mind from people I have met, close friends and authors. But if I had to choose one of my main life influences, I would say my great aunt Dr. Gladys Pichs Paret, a former Chemistry University Professor and Lab Manager, who is currently suffering a long Alzheimer illness back in Cuba. Tia Gladys is like a mother figure for everybody in my family. She was also a generous and unconditional loving person for everybody that met her.
Website: http://cubanidadinbetween.blogspot.com/
Instagram: https://www.instagram.com/alafiacreativeentertainment/
Linkedin: https://www.linkedin.com/in/eva-silot-bravo-phd-87171b72
Twitter: https://twitter.com/evitasilot
Facebook: https://www.facebook.com/alafiacreativeentertainment/
Youtube: https://www.youtube.com/channel/UC1G3irZffa99Z_BsTE-_nRw?view_as=subscriber
Other: https://independentscholar.academia.edu/EvaSilotBravo
Image Credits:
Artistnator- Images where there’s a mic
Miri Paez-Images with a red clothing among Wynwood walls
All the rest are my own
Friday, August 7, 2020
Word Culture-Cultura de la Palabra Un Podcast Semanal Online- A Weekly Online Podcast-Chapters 11-21
Word Culture-Cultura de la PalabraUn Podcast Semanal Online- A Weekly Online Podcast
Chapters 11-21
Bilingual: Español English
Conversations with Creatives-Conversaciones con Creativos
Fridays, 7 pm Viernes a las 7 pm
FB, Youbute, IG & Twitter.
Dra Eva Silot Bravo, Alafia Creative Entertainment and Blog Cubanidadinbetween
Chapter 11-Pavel Urkiza-Musician , Composer & Producer
Chapter 12- Gonzalo Rubalcaba, Musician, Producer & Composer
Chapter 13- Steve Roistsein-Palo! Band Director
Chapter 14- Dr. Ras Mickey C.-Multidisciplinary Artist
Chapter 15- Michel Peraza-Singer-Songwriter-Producer
Chapter 17-Ivan Melon Lewis-Musician, Composer & Producer
Wednesday, May 13, 2020
Miami Alternativo Videopodcast by Alafia Creative Entertainment & Artistnator-5 Chapters
Thursday, April 30, 2020
Word Culture-Cultura de la Palabra-Podcast-A Weekly Online Podcast-Chapters 1-10
Word Culture-Cultura de la Palabra
Un Podcast Semanal Online- A Weekly Online Podcast
Chapters 1-10
Bilingual: Español English
Conversations with Creatives-Conversaciones con Creativos
Fridays, 7 pm Viernes a las 7 pm
FB, Youbute, IG & Twitter.
Dra Eva Silot Bravo, Alafia Creative Entertainment and Blog Cubanidadinbetween
Chapter 3- Joan Godoy-Radical Partners
Capitulo 6. Paloma Duenas. PalomaArts & OhmSessions
Chapter 7. Kevin Walton-Source Radiance
Chapter 8. Mio Santana. Divine Feminine Circle
Capitulo 9. Milvia Rodriguez-The University of Chicago.
Capitulo 10. Yesenia Selier- New York University
Saturday, November 9, 2019
Miami Alternativo-Podcast Limited Series-Bilingual-Spanish & English. Alafia Creative Entertainment in collab with Artistnator
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| 5 episode. Interview to Grammy Nominated musician Leslie Cartaya |
Friday, August 30, 2019
Meet Dr. Eva Silot Bravo of Alafia Creative Entertainment in Wynwood Art District
by Voyage Mia Magazine, L.A.
Saturday, April 6, 2019
"Wilderness and Marginality of a Cuban intelectual in Pedro Juan Gutiérrez's novel Trilogía sucia de la Habana" (1998). Caribbean Studies. Vol 46. No. 2. July-December 2018.
Happy to see another article published, this time in the Caribbean Studies Journal, Vol. 46 No. 2, July-December 2018, by Instituto de Estudios del Caribe, Universidad de Puerto Rico.
This article is entitled "Wilderness and Marginality of a Cuban intelectual in Pedro Juan Gutiérrez's novel Trilogía sucia de la Habana (1998)", and is part of my PhD. Dissertation from 2016 at the University of Miami.
Click in the link bellow to access the text:
Abstract
The article explores how the novel Trilogía sucia de la Habana (1998), by Pedro Juan Gutiérrez, depicts the decline of the subject identity heavily constructed by the paternalist ideology, promises and morals of the Cuban nation-state during the revolutionary period. Instead, emptiness, loss of faith, despair and wild survival became distressing effects of the nineties crisis. Pedro Juan’s marginal existence, constrained agency and sense of lost time embodies a common place for many Cuban intellectuals, trapped in the absurdity of a chaotic national situation. With Trilogía, Gutiérrez re-imagines the Cuban nation at the turn of the century as a dystopian place of material decadence, dehumanization, revival of colonial stereotypes and a rough culture of daily survival by all means. In those circumstances, the present is the only time that really counts and the hypersexualizing of the body became the privilege space for individual agency. The novel moves the spotlight from the collective incarnation of the “New Man” in the official revolutionary propaganda, to the voice of forgotten individuals massively converted into marginal beings. This article dialogues with texts by scholars Odette Casamayor, Guillermina de Ferrari, José Quiroga y Esther Whitfield, and with theories by Pierre Bourdieu, Roberto Bolaño, Frantz Fanon and Stuart Hall.
Keywords: Pedro Juan Gutiérrez, Cuban narrative, post-socialist intellectual, decadence, marginality
Resumen
Este artículo argumenta que la novela Trilogía sucia de la Habana (1998), del escritor cubano Pedro Juan Gutiérrez, logra documentar el momento de declive masivo de la ideología paternalista, las promesas, la moral y los valores del sujeto y el estado-nación cubano del período “revolucionario”. La novela recrea el vacío, la pérdida de fe, el desespero y el estado de sobrevivencia salvaje que vivieron los cubanos como resultado de los demoledores efectos de la crisis económica de la década de los noventa en la isla. El estado de permanente existencia precaria, asfixia y pérdida del sentido del tiempo que experimenta Pedro Juan, el protagonista de la novela, es un reflejo del lugar común que representó la crisis para muchos intelectuales cuba-nos en aquellos momentos, atrapados en el absurdo del caos nacional. Con Trilogía, Pedro Juan Gutiérrez “re-imagina” a la nación cubana de cambio de siglo como un lugar dis-tópico, de decadencia material, deshumanización, de regreso a estereotipos coloniales y a una cultura feroz de sobrevivencia diaria. En esas circunstancias, el presente y la hiper-sexualización del cuerpo se convirtieron en espacios “privile-giados” para ejercer algún tipo de agencia individual. La narrativa de la novela desplaza el énfasis alcanzado por la encarnación colectiva del “próspero” “Hombre Nuevo” en la propaganda revolucionaria oficialista hasta el momento, hacia la voz de individuos marginales y olvidados en los que se convirtieron muchos cubanos súbitamente como resultado de la crisis. Este artículo dialoga con textos de acadé-micas como Odette Casamayor, Guillermina de Ferrari, José Quiroga y Esther Whitfield, y con teorías de Pierre Bourdieu, Roberto Bolaño, Frantz Fanón y Stuart Hall.
Palabras clave: Pedro Juan Gutiérrez, narrativa cubana, intelectual post-revolucionario, decadencia, marginalidad
résumé
Cet article postule que dans son roman Trilogía sucia de la Habana (1998), l’écrivain cubain Pedro Juan Gutiérrez rend compte du déclin que connurent l’idéologie paternaliste, les promesses, la morale et les valeurs personnelles, ainsi que l’état-nation cubain au cours de la période révolutionnaire. Le roman recrée le sentiment de vacuité, la désillusion, le désespoir et l’état de survie sauvage dont les Cubains firent l’expérience suite aux effets dévastateurs de la crise économique des années 90 sur l’île. Le sentiment d’une existence profondément précaire, d’asphyxie et de perte de repères temporels dont fait l’expé-rience Pedro Juan, le personnage principal du roman, reflète un lieu commun sur ce que la crise représenta pour de nombreux intellectuels cubains de l’époque, englués dans l’absurdité du chaos national. Avec sa trilogie, Pedro Juan Gutiérrez reconfigure la nation cubaine et la transplante dans un lieu « dystopique », mais aussi dans un autre siècle, de décadence matérielle et de déshumanisation, en proie, une nouvelle fois, aux clichés coloniaux et à une culture féroce de survie quotidienne. Dans une telle atmosphère, le présent et l’hypersexualisation du corps deviennent des espaces privilégiés pour que les Cubains puissent s’exprimer librement. La narration du roman déplace l’accent mis, ini-tialement, sur le modèle collectif de l’« homme nouveau » (« Hombre Nuevo »), prospère, selon la propagande révolutionnaire officielle, pour laisser entendre la voix des marginaux et des laissés-pour-compte, tous ces gens que de nombreux Cubains étaient devenus du jour au lendemain après la crise. Cet article s’inscrit dans la mouvance des travaux d’Odette Casamayor, de Guillermina de Ferrari, José Quiroga et Esther Whitfield, et reprend les théories de Bourdieu, Bolaños, Fanon et Stuart Hall.
Mots-clés : Pedro Juan Gutiérrez, narration cubaine, intellectuel post-révolution, décadence, marginalité
Wednesday, January 9, 2019
Are We in Miami? Art Basel, PLAZA and the local creative scene.
Alafia Creative Entertainment
All Rights Reserved
PLAZA was one of the most stimulating local art events I had the opportunity to attend this year during pre-Basel events. The in-site performance was created by local and awarded dance choreographer Liony Garcia and commissioned by Grass Stains, an initiative to mentor original site-specific art initiatives by the Pioneer Winter Collective. As with many other great artistic projects in the city, PLAZA was supported by the Knight Foundation.
PLAZA was an in-site work and dance performance presented at Chicago Produce, a real produce warehouse in Allapattah, an old gentrified neighborhood and commercial warehouse district in the northwest area of Miami. The warehouse was not only the venue where PLAZA took place. Warehouses have become among the main urban spaces in Miami where local art is being made, artists gather and rehearse, art pieces are kept and commercialized; and where many arts, music, TV, radio, and film studios are located. Warehouses also define many emerging art districts across the city. In Miami, the warehouse has become probably the most important icon to represent the local culture in the last decade prompted by Art Basel.
Love for Learning through the Arts




















