221 p., Carmen (Mérimée 1845, Bizet 1875), the story about the (in)famous Gypsy dancer from Spain, is the second most adapted narrative in the history of world cinema, with over eighty global versions officially recognized to date. Despite the global reach of the Carmen phenomenon, many scholars claim that this tale has hardly been reworked in Spanish America and never in the Caribbean. Following Carmen from Spain to Spanish America, the author shows how the template of Carmen (a love story that reveals the racio-ethnic and gender stratification in Spain) has been artfully but unsuspectingly reappropriated and "creolized" in postcolonial Cuba in the controversial film María Antonia (1991) by Afro-Cuban filmmaker Sergio Giral, based on the landmark play María Antonia (1964) by Afro-Cuban playwright Eugenio Hernández Espinosa.
Special journal issue: New Perspectives on the Black Music Diaspora: Focus on the Caribbean., Includes Roger D. Abrahams, Questions of competency and performance in the black musical diaspora; Rose Mary Allen, Music in diasporic context: The case of Curaçao and intro-Caribbean migration; Nanette T. De Jong, Curaçao and the folding diaspora: Contesting the party tambú in the Netherlands; Elizabeth Mcalister, Listening for geographies: Music as sonic compass pointing toward African and Christian diasporic horizons in the Caribbean; and Raquel Z. Rivera, New York Afro-Puerto Rican and Afro-Dominican roots music: Liberation mythologies and overlapping diasporas.
African American Research Center, Library, University of Illinois at Urbana-Champaign
Notes:
337 p, James Dietz examines the complex manner in which productive and class relations within Puerto Rico have interacted with changes in its place in the world economy (Biblio.com)
