A01=Elizabeth B. Schwall
Alberto Alonso
Alicia Alonso
Author_Elizabeth B. Schwall
Ballet de Camaguey
Ballet Nacional de Cuba
blackness in Cuba
Caridad Martinez
Category=ATQ
Category=NHB
censorship in Cuba
class hierarchies in Cuba
Concert dance in Cuba
Conjunto Folklorico Nacional de Cuba
Cuban choreography
Cuban cultural policy
Cuban dance internationalism
dance education for the masses in Cuba
Danza Contemporanea de Cuba
Eduardo Rivero
eq_art-fashion-photography
eq_bestseller
eq_history
eq_isMigrated=1
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Escuela Nacional de Arte
Fernando Alonso
gender and sexuality in Cuba
Isidro Rolando
Lorna Burdsall
Luz Maria Collazo
privilege in Cuba
race relations in Cuba
Ramiro Guerra
Rogelio Martinez Fure
whiteness in Cuba
Product details
- ISBN 9781469662961
- Weight: 640g
- Dimensions: 155 x 233mm
- Publication Date: 10 May 2021
- Publisher: The University of North Carolina Press
- Publication City/Country: US
- Product Form: Hardback
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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.
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.
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.
Elizabeth B. Schwall is assistant professor of history at Northern Arizona University.
