This book attempts to fill a vacuum by directing its attention to the XIX-Century Cuban Danza, in which lay the beginnings of Cuban music as a distinct national expression. An understanding of the development of the Danza from a classic European figure dance to a stylized piano piece, with characteristic Cuban qualities, is basic to an understanding of Cuban music. The foremost Cuban composer of the Danza was Ignacio Cervantes. A study of his output is, therefore, basic to an understanding of Cuban music. This study seeks to penetrate the confusion and controversy surrounding the origins of the Cuban Danza and to clarify its historical and stylistic traits. The path of the Danza is traced from Europe to Cuba and its development there throughout the XIX-Century, examining Cervantes’ contribution and that of the other important composers of this dance form during that period.
In the centuries since the colonization of the New World, the people of Cuba created a strong musical tradition. Initially, their music mirrored the European composition canons of structural, melodic and harmonic order; however, the gradual confluence of the island’s distinct cultural elements (European, African, and, to a lesser extent, Amerindian) led to the emergence of a new, distinctly Cuban musical aesthetic. This book examines the Cuban nationalist movement and its influence on the creation of art music by twentieth-century Cuban composers. Organized into three general sections, it defines nationalism and describes some relevant nationalist movements (with special attention to Cuba). It also provides a history of Cuban art music and a description of the characteristics of Cuban popular music. The work concludes with an in-depth examination of Cuban composer Mario Abril’s Fantasia for clarinet and piano, whose use of folklore elements qualifies it as an example of Cuban nationalist art music.
A History of the Cuban Revolution presents a concise socio-historical account of the Cuban Revolution of 1959, an event that continues to spark debate 50 years later. Balances a comprehensive overview of the political and economic events of the revolution with a look at the revolution’s social impact Provides a lively, on-the-ground look at the lives of ordinary people Features both U.S. and Cuban perspectives to provide a complete and well-rounded look at the revolution and its repercussions Encourages students to understand history through the viewpoint of individuals living it Selected as a 2011 Outstanding Academic Title by CHOICE
Vida Clandestina is the first U.S. publication of the dramatic memoir of an important Cuban revolutionary who led a dangerous double life from 1952 to1959. Educated at University of Miami, then a high-ranking manager and engineer for Shell Oil, Enrique Oltuski was also a leader in the urban guerilla 26th of July Movement in Havana and Santa Clara, risking his life to join forces with Che Guevara and Fidel Castro, and working at the highest level of the Cuban government in the forty-three years since.
The most common reason for women of childbearing age to access healthcare in the 21st Century is for assistance with childbirth. Cultural diversity is now increasingly common in the U.S. and the group of people with Hispanic heritage is growing most rapidly. Nursing research to describe the experience of childbirth among minority women has been limited. Cubans are the second largest group of Hispanic people in the U.S. and may have cultural beliefs that influence health that have not been uncovered. The purpose of the study was to examine and describe the lived experience of childbirth among a group of Cuban women. Descriptive phenomenological methods were utilized to interview 29 Cuban women who had recently given birth. Two open-ended research questions guided the study: What is the experience of childbirth among 21st Century Cuban women in a Florida hospital? What is the influence of Cuban beliefs and culture on the experience of childbirth among Cuban women in a Southwest Florida hospital? The findings reflected three main clusters of themes.
This book traces the history of the Cuban mulata and her association with hips, sensuality and popular dance. It examines how the mulata choreographs her identity through her hips. Combining literary and personal narratives with historical and theoretical accounts of Cuban popular dance history, religiosity and culture, this work investigates the power of embodied exchanges.