African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
274 p, "A model for theatre scholarship on racial impersonation."—Theatre Journal Blackface Cuba, 1840-1895 offers a critical history of the relation between racial impersonation, national sentiment, and the emergence of an anticolonial public sphere in nineteenth-century Cuba. Through a study of Cuba's vernacular theatre, the teatro bufo, and of related forms of music, dance, and literature, Lane argues that blackface performance was a primary site for the development of mestizaje, Cuba's racialized national ideology, in which African and Cuban become simultaneously mutually exclusive and mutually formative." (Doris Sommer, Harvard University)
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
342 p, Examines how the low socioeconomic status of the black population in Cuba informs the representation of black characters in Cuban narrative fiction. From its very first example (Espejo de paciencia, 1608) until the most recent short fiction written after the 1959 Revolution, Cuban narrative fiction has played (and still plays) an important role in creating and maintaining the subaltern position of the black population in Cuba.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
199 p, Contents: Popular music. The salsa concept ; Ontology of the son ; The aesthetics of sabor -- On the road to Latin jazz. Magic mixture ; Drumming in Cuban ; Lords of the tambor ; Chocolate dreams ; The taste of "azúcar!"
La Habana, Cuba: Ministerio de Educación, Dirección de Cultura
Location:
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
477 p, Examines the musical traditions of the African population in Cuba, including rhythmic and melodic features, instrumentation, and vocal characteristics.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
489 p, Examines the musical traditions of the African population in Cuba, including rhythmic and melodic features, instrumentation, and vocal characteristics.
