African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
273 p., Explores the iconography of Cuban rumba--a unique AfroCuban dance and music complex that represents the foundation of contemporary Cuban popular culture--and argues that rumba constitutes an essential part of a greater African-based ontology. Rumba dance performance is conceptualized as knowledge embodied, an avatar of nonverbal cultural communication and consciousness, which plays a central role in the organization of daily life and formation of identity. This dissertation demonstrates that concrete continuities exist between the diaspora and mainland Africa through close scrutiny of rumba and parallel performance art traditions in north, west and central Africa. Also attempts to identify specific African-based stylistic conventions as exemplified by Sahara's Imazighen (also known as Berber) peoples, Mali's Mande (known as Gangá in Cuba) and related groups, and the Kongo civilization establishing that although ethno-cultural boundaries exist, they tend to be permeable.
In this article, I analyse patterns of classifications and naming of African "nations" in colonial Cuba. Based on parish records, I suggest possible interpretations of African patterns of classification, identities and social arrangements during the formation of Cuban plantations over the course of the eighteenth century. I discuss some of the methodological implications that can be explored regarding marriages of enslaved people in Cuba based on ecclesiastical sources, chiefly in the case of Guanabacoa. I have furthered the social/demographic analysis of "nations" in Cuba, underscoring how Africans could have been the agents of networks and alliances through organizational strategies and the formation of identities. [ABSTRACT FROM AUTHOR].
