The defining moments of the Cuban Revolution

No instant replays — Magnum photographer Burt Glinn arrived in Havana just as Fidel Castro’s revolutionaries seized power from dictator Fulgencio Batista.

You don’t get a second chance to photograph a revolution. There are no re-runs of the storming of the presidential palace and corrupt dictators only flee the once.

Young Magnum photographer Burt Glinn was celebrating New Years Eve at a black tie party in New York in 1958 when he heard whispers that Cuba’s US-sponsored dictator was making preparations to escape Havana, as Fidel Castro’s revolutionary army advanced on the city.

Seizing his opportunity, Glinn borrowed $400 from Magnum president Cornell Capa, picked up his camera gear and raced to NY’s La Guardia airport just in time to make the last flight to Miami.

NYC10103 © Burt Glinn _ Magnum

Onlookers watch the battle between rebels and Batista’s men unfold

NYC4629 © Burt Glinn _ Magnum

Young student women and supporters of Castro

When Glinn arrived in Havana early the next morning, he had already missed Batista’s hurried exit. Nobody was in charge and no-one knew what would happen next, or where Fidel Castro was. But over the subsequent ten days, Glinn documented the defining moments of the Cuban Revolution.

“At 11pm on December 31, 1958, I decided to fly to Cuba,” Glinn recalls. “At daybreak, I was sharing the streets of Havana with hundreds of delirious Cubans. Within four days, I had found Fidel, and by January 10 this project was completed.”

Glinn’s images have become one the defining photographic records of the victory of the Cuban Revolution. But the chaos and uncertainty that met him when he arrived in Havana meant that documenting the momentous events was no easy task. As Glinn said, “you just can’t hail a taxi and ask the cabbie to take you to the revolution.”

PAR43445 © Burt Glinn _ Magnum

Castro Sympathisers take to the streets with small arms

PAR43435 © Burt Glinn _ Magnum

Fidel Castro’s arrival into Havana

Glenn captured the triumphant scenes as Castro and his supporters swept into the city and the jubilation of ordinary Cubans at their liberation. But revolutions aren’t all fun and games and Glinn photographed Castro supporters emerging from hiding, gunshots being fired, panic on the streets and the rounding up of the Batista Secret Police.

Cuba 1959 is the product of the first ever unrestricted access to Burt Glinn’s incredible archive and his up-close and personal record of the Cuban Revolution plays out like a thriller.

Cuba 1959 by Burt Glinn is published by Reel Art Press.

Enjoyed this article? Like Huck on Facebook or follow us on Twitter.


You might like

Colourful collage of album covers and record sleeves on display in a gallery or museum setting, with glass panels on either side reflecting the vibrant arrangement.
Culture

Largest-Ever Display of UK AIDS Memorial Quilt Opens at Tate Modern

Grief Made Visible — Comprising hundreds of panels made by lovers, friends and chosen family, the UK AIDS Memorial Quilt returns in full for the first time since 1994 – a testament to grief, friendship and the ongoing fight against HIV stigma.

Written by: Ella Glossop

Diverse group of people with various expressions and styles, surrounded by bold text and graphics in dark colours.
Culture

Remembering New York’s ’90s gay scene via its vibrant nightclub flyers

Getting In — After coming out in his 20s, David Kennerley became a fixture on the city’s queer scene, while pocketing invites that he picked up along the way. His latest book dives into his rich archive.

Written by: Miss Rosen

Black and white image of several people in suits, some with long hair and unconventional appearances, alongside a large ship or boat model. Text overlaid: "FREAKS AND FINANCES".
Culture

On Alexander Skarsgård’s trousers, The Rehearsal, and the importance of weirdos

Freaks and Finances — In the May edition of our monthly culture newsletter, columnist Emma Garland reflects on the Swedish actor’s Cannes look, Nathan Fielder’s wild ambition, and Jafaican.

Written by: Emma Garland

Vibrant book covers against bleak, rocky hills and buildings; 'Babylon' and 'Albion' text in bold lettering.
Culture

Dalia Al-Dujaili: “When you’re placeless, nature can fill the void”

Babylon, Albion — As her new book publishes, the British-Iraqi author speaks about connecting with the land as a second-generation migrant, plants as symbols of resistance, and being proud of her parents.

Written by: Zahra Onsori

A collage depicting a giant flup for mankind, with an image of the Earth surrounded by planets and people in sci-fi costumes.
Culture

Why Katy Perry’s space flight was one giant flop for mankind

Galactic girlbossing — In a widely-panned, 11-minute trip to the edge of the earth’s atmosphere, the ‘Women’s World’ singer joined an all-female space crew in an expensive vanity advert for Jeff Bezos’ Blue Origin. Newsletter columnist Emma Garland explains its apocalypse indicating signs.

Written by: Emma Garland

Huck 79

We are all Mia Khalifa

How humour, therapy and community help Huck's latest cover star control her narrative.

Written by: Alya Mooro

Huck is supported by our readers, subscribers and Club Huck members. It is also made possible by sponsorship from:

Signup to our newsletter

Sign up to our newsletter to informed with the cutting edge of sport, music and counterculture, featuring personal takes on the state of media and pop culture from Emma Garland, former Digital Editor of Huck, exclusive interviews, recommendations and more.

Please wait...

Accessibility Settings

Text

Applies the Open Dyslexic font, designed to improve readability for individuals with dyslexia.

Applies a more readable font throughout the website, improving readability.

Underlines links throughout the website, making them easier to distinguish.

Adjusts the font size for improved readability.

Visuals

Reduces animations and disables autoplaying videos across the website, reducing distractions and improving focus.

Reduces the colour saturation throughout the website to create a more soothing visual experience.

Increases the contrast of elements on the website, making text and interface elements easier to distinguish.