ABSTRACT

Through an analysis of an Airbnb Experience called ‘Paint a graffiti with Havana Street Art’ in San Isidro, a majority non-white and economically marginalized neighborhood in the southern part of Havana’s colonial city, I interrogate how whiteness is transforming San Isidro in the image of Wynwood, Miami. I do so by tracing the mobility and barriers to movement of international graffiti artists, tour guides, tourists, and hosts, showing how whiteness works as an economic, social, and historical structure that marks people by neighborhood of origin, family inheritance, proximity to foreign capital, and ability to move seamlessly between multiple local and international geographies. I argue that outside protagonists in San Isidro understand the neighborhood through this structure of whiteness, viewing the neighborhood as a settler frontier of capital extraction but also as a site of emotional and artistic self-discovery where they can ‘make their mark.’

摘要

通过对位于哈瓦那殖民城市南部非白人占多数且经济边缘化的圣伊西德罗社区的一项名为“用哈瓦那街头艺术涂鸦”的 Airbnb 体验的分析，我审视了图像中的白度如何改变圣伊西德罗温伍德，迈阿密。为此，我追踪了国际涂鸦艺术家、导游、游客和东道主的流动性和流动障碍，展示了白度如何作为一种经济、社会和历史结构发挥作用，通过原籍地、家庭继承、邻近地区来标记人们外国资本，以及在多个本地和国际地区之间无缝移动的能力。我认为圣伊西德罗的外部主角通过这种白度结构来理解社区，