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This collection centers Central American women’s voices within the growing narrative of the Central American diaspora. It provides a tapestry of testimonios—from grandmothers, mothers, daughters, and sisters—who explore what it means to be Central American women in the United States.
 
Through the practice of testimonio, contributors create intergenerational dialogues between mothers and daughters, engage with Indigenous oral traditions, and reflect on the violent histories of war in Guatemala, El Salvador, Honduras, and Nicaragua. The volume is organized around five themes: political histories, migration, gender and sexuality, navigating institutions, and healing. Within each theme contributors tackle a range of issues, including Central American political histories, healing, grief, Indigenous knowledge, memory, trauma, post-traumatic growth, organizing, creativity, and agency.
 
This anthology spans genres such as poetry, essay, and visual art to present diverse perspectives, including Indigenous, Afro-Indigenous, queer, and working-class voices. An intervention that centers gendered experiences and challenges oppressive structures, this volume celebrates the solidarity, cultural memory, and healing found within transnational ties.
 
Contributors
Leisy J. Abrego
Margoth Abrego
Bella
Juanita Cabrera López
Jennifer A. Cárcamo
Sandra Castro
Karla Cativo
Kency Cornejo
Gabriela Corona Valencia
Carolina Rivera Escamilla
Rafael Escamilla
Mildred Fuentes-Chung
Diana Gamez
Joanna Beltrán Girón
Ruth Girón
Victoria Gonzalez-Rivera
Claudia D. Hernández
Jessica Hernandez
Leticia Hernández-Linares
Leigh-Anna Hidalgo
Andrea Nikté Juarez Mendoza
Amanda Macal
Carla Macal
Patricia Veliz Macal
Kiara Aileen Machado
Beatriz Maldonado
Jacqueline Munguía
Joanna B. Pérez
Rossana Pérez
Katy Pinto
Claudia A. Portillo
Suyapa Portillo Villeda
Nalya Rodriguez
Jessica Saravia
Andrea Zelaya

As an island—a geographical space with mutable and porous borders—Cuba has never been a fixed cultural, political, or geographical entity. Migration and exile have always informed the Cuban experience, and loss and displacement have figured as central preoccupations among Cuban artists and intellectuals. A major expression of this experience is the unconventional, multi-generational, itinerant, and ongoing art exhibit CAFÉ: The Journeys of Cuban Artists. In Cuban Artists Across the Diaspora, Andrea O'Reilly Herrera focuses on the CAFÉ project to explore Cuba's long and turbulent history of movement and rupture from the perspective of its visual arts and to meditate upon the manner in which one reconstitutes and reinvents the self in the context of diaspora.

Approaching the Cafeteros' art from a cultural studies perspective, O'Reilly Herrera examines how the history of Cuba informs their work and establishes their connections to past generations of Cuban artists. In interviews with more than thirty artists, including José Bedia, María Brito, Leandro Soto, Glexis Novoa, Baruj Salinas, and Ana Albertina Delgado, O'Reilly Herrera also raises critical questions regarding the many and sometimes paradoxical ways diasporic subjects self-affiliate or situate themselves in the narratives of scattering and displacement. She demonstrates how the Cafeteros' artmaking involves a process of re-rooting, absorption, translation, and synthesis that simultaneously conserves a series of identifiable Cuban cultural elements while re-inscribing and transforming them in new contexts.

An important contribution to both diasporic and transnational studies and discussions of contemporary Cuban art, Cuban Artists Across the Diaspora ultimately testifies to the fact that a long tradition of Cuban art is indeed flourishing outside the island.