Abstract

Abstract:

From colonial to post-colonial times, African rituals and other magical-religious manifestations have served as a constant aesthetic resource in the representation of Afro-Cubans in the theater. In this essay, I analyze black face theater or teatro bufo to trace pioneering plays that employed Afro-Cuban rituals to portray blackness during the 19th century. By examining several works, especially Mefistófeles by Ignacio Sarachaga (1896), I show how elements such as music, speech, and the practice of Afro-Cuban religion are portrayed not only as part of the racist mockery typical of this theatrical genre, but also as a mechanism with which to confront the colonial Spanish regime and to propose a more dynamic and technically complex staging.

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Additional Information

ISSN
2161-0576
Print ISSN
0023-8813
Pages
pp. 23-38
Launched on MUSE
2019-12-07
Open Access
No
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