olitics to popular dance, The Subject of Revolution explores how knowledge about the 1959 Cuban Revolution was produced and how the Revolution in turn shaped new worldviews. Drawing on sources from over twenty archives as well as film, music, theater, and material culture, this book traces the consolidation of the Revolution over two decades in the interface between political and popular culture. The "subject of Revolution," it proposes, should be understood as the evolving synthesis of the imaginaries constructed by its many "subjects," including revolutionary leaders, activists, academics, and ordinary people within and beyond the island's borders.

The book reopens some of the questions that have long animated debates about Cuba, from the relationship between populace and leadership to the archive and its limits, while foregrounding the construction of popular understandings. It argues that the politicization of everyday life was an inescapable effect of the revolutionary process as well as the catalyst for new ways of knowing and being.