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Nuyorican Feminist Performance: From the Café to Hip Hop Theater
Patricia Herrera
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The Nuyorican Poets Café has for the past forty years provided a space for multicultural artistic expression and a platform for the articulation of Puerto Rican and black cultural politics. The Café's performances—poetry, music, hip hop, comedy, and drama—have been studied in detail, but until now, little attention has been paid to the voices of its women artists. Through archival research and interview, Nuyorican Feminist Performance examines the contributions of 1970s and '80s performeras and how they challenged the Café's gender politics. It also looks at recent artists who have built on that foundation with hip hop performances that speak to contemporary audiences. The book spotlights the work of foundational artists such as Sandra María Esteves, Martita Morales, Luz Rodríguez, and Amina Muñoz, before turning to contemporary artists La Bruja, Mariposa, Aya de León, and Nilaja Sun, who infuse their poetry and solo pieces with both Nuyorican and hip hop aesthetics.
Cover
Title Page
Copyright Page
Dedication
Contents
Acknowledgments
Prologue
Chapter 1. Practicing a Feminist Nuyorican Aesthetic
Chapter 2. Gendering the Genealogies of the Nuyorican Aesthetic
Chapter 3. The Founding Mothers of the Nuyorican Poets Café
Chapter 4. Masculinity in Hip Hop, Spoken Word, and Slam Poetry
Chapter 5. “It Was Definitely a Family Affair”
Chapter 6. Performing Afro-Latinidad
Chapter 7. A Hip Hop Feminist Approach to Aya de León’s Thieves in the Temple
Figure 12. Program from Boogie Rican Boulevard (2002) a solo performance written and performed by Caridad de la Luz and sponsored by Urban Latino, Café Bustelo, and Nuyorican Poets Café.
Figure 13. Poster of the musical version of Boogie Rican Boulevard (2009), performed at the Puerto Rican Traveling Theater, includes Caridad de la Luz (aka La Bruja) as Mamá, Pito, and Don José and portrait of cast members, who play different family members.
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