Examines Zora Neale Hurston's work, particularly her collection of folklore and ethnography of the American South, "Mules and Men." Looks at the author's role, the ways the ethnographer inscribes herself into the text, and speculates about Hurston's understanding of the limits of the impersonal researcher.
Considers how dance, rhythm and the body become forces of social differentiation. In Cuba, many Afro-Cuban cultural practices, such as rumba, have been subject to social and spatial exclusion. In this context, sites such as the home, the street and the family emerge as highly significant for the learning and performance of Afro-Cuban music and dance.
Reviews Mullen's examination (Greenwood Press, 1998, 236p) of Afro-Cuban literature. Notes that this study is "perceptive" and "important" to the field of Afro-Hispanic literary criticism.;
Discusses representations of the 'Afro-Cuban-occupied house' in Cuban-American autobiographical narratives of a 1990s return to Cuba. A trope in which island Afro-Cubans inhabit houses once owned or lived in by white Cuban-Americans, the Afro-Cuban-occupied house appears repeatedly in Cuban-American literary and film texts during the period. The article argues that the trope, more than another example of 'literary Afro-Cubanness,' discloses Cuban-American whiteness and its constitutive element, privilege, thus inviting Cuban-American literary and cultural studies to engage in conversations along the lines of a critical Latino whiteness studies.
"While plotting out the journeys that paved the way for their creative and innovative work in Afro-Cuban and African American ethnography, this study will address their bifocal vision as insider-outsiders within the minority cultures they represent in folktales and within the 'foreign' cultures to which they traveled. Cabrera's and Hurston's roles as 'native ethnographers' will also be considered. In creating alternatives to traditional ethnographies, such as Franz Boas's Bella Bella Tales (1932), their collections can be understood as early examples of experimental and feminist ethnography." (author)
The story of Carmen (Mérimée 1845, Bizet 1875), the (in)famous Gypsy from Spain, is the second most adapted narrative in the history of world cinema with more than eighty global versions officially recognized to date; however, one significant and critical version has been overlooked, the controversial 1991 film María Antonia (Cuba), by Afro-Cuban filmmaker Sergio Giral.
