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Blackface Cuba, 1840-1895 (Hardcover, New)
Loot Price: R1,759
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Blackface Cuba, 1840-1895 (Hardcover, New)
Series: Rethinking the Americas
Expected to ship within 10 - 15 working days
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Blackface Cuba, 1840-1895 Jill Lane "A model for theatre
scholarship on racial impersonation."--"Theatre Journal" "Blackface
performance, treated in U.S. scholarship as if it were an
exclusively national phenomenon, has not until now been the subject
of an extended study for Cuba, where it was the main vehicle for
shaping a sense of hybridity. Lane shows that performance
reiterated the contradiction between blacks and whites while trying
to overcome it. From acting up to impersonation, Lane links some
liberating practices of anticolonialism in the Americas with the
binding mechanisms for a new national unity."--Doris Sommer,
Harvard University "A valuable source on nineteenth-century Cuban
cultural manifestations. Highly recommended."--"Choice" "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. Popular with white Cuban-born audiences during the
period of Cuba's anticolonial wars, the "teatro bufo" was
celebrated for combining Spanish elements with supposedly African
rhythms and choreography. Its wealth of short comic plays developed
a well-loved repertory of blackface stock characters, from the
"negrito" to the "mulata," played by white actors in blackface.
Lane contends that these practices were embraced by white audiences
as especially national forms that helped define Cuba's opposition
to Spain, at the same time that they secured prevailing racial
hierarchies for a future Cuban nation. Comparing the "teatro bufo"
to related forms of racial representation, particularly those
created by black Cubans in theatres and in the press, Lane analyzes
performance as a form of social contestation through which an
emergent Cuban national community struggled over conflicting
visions of race and nation. Jill Lane teaches theatre studies and
American studies at Yale University. Rethinking the Americas 2005
288 pages 6 x 9 ISBN 978-0-8122-3867-9 Cloth $59.95s 39.00 World
Rights Literature, African-American/African Studies, Latin
American/Caribbean Studies Short copy: "Blackface Cuba, 1840-1895"
offers a critical history of the relation between racial
impersonation, national sentiment, and an anticolonial public
sphere in nineteenth-century Cuba.
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