Dancing with the Revolution : Power, Politics, and Privilege in Cuba

Elizabeth B. Schwall

ISBN 10: 1469662965 / ISBN 13: 9781469662961

Published by The University Of North Carolina Press Mai 2021, 2021

About this Item

Neuware - 'Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cubans dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases'.

Seller Inventory # 9781469662961

Bibliographic Details

• Title: Dancing with the Revolution : Power, Politics, and Privilege in Cuba
• Publisher: The University Of North Carolina Press Mai 2021
• Publication Date: 2021
• Language: English
• ISBN 10: 1469662965
• ISBN 13: 9781469662961
• Binding: Buch
• Condition: Neu
• Dimensions: 233W x 155H x 22D millimeters 233 millimeters width by 155 millimeters height by 22 millimeters depth
• Weight: 640 grams

About this title

Synopsis

Elizabeth B. Schwall aligns culture and politics by focusing on an art form that became a darling of the Cuban revolution: dance. In this history of staged performance in ballet, modern dance, and folkloric dance, Schwall analyzes how and why dance artists interacted with republican and, later, revolutionary politics. Drawing on written and visual archives, including intriguing exchanges between dancers and bureaucrats, Schwall argues that Cuban dancers used their bodies and ephemeral, nonverbal choreography to support and critique political regimes and cultural biases.

As esteemed artists, Cuban dancers exercised considerable power and influence. They often used their art to posit more radical notions of social justice than political leaders were able or willing to implement. After 1959, while generally promoting revolutionary projects like mass education and internationalist solidarity, they also took risks by challenging racial prejudice, gender norms, and censorship, all of which could affect dancers personally. On a broader level, Schwall shows that dance, too often overlooked in histories of Latin America and the Caribbean, provides fresh perspectives on what it means for people, and nations, to move through the world.

About the Author

Elizabeth B. Schwall is assistant professor of history at Northern Arizona University.