University of Michigan needs your feedback to better understand how readers are using openly available ebooks. You can help by taking a short, privacy-friendly survey.
Nuyorican Feminist Performance: From the Café to Hip Hop Theater
Patricia Herrera
You don't have access to this book. Please try to log in with your institution.Log in
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 15. Aya de León as a wigga, a white teenage wannabe hip hop thug, in Thieves in the Temple (2002). Photo by Deanne Fitzmaurice. Courtesy of San Francisco Chronicle/Polaris.
Figure 16. Aya de León as Lady Triple X in Thieves in the Temple (2002). De León stages a hypersexualized constructed caricature as a theatrical intervention to shatter the social prescriptions of Black women as hos, bitches, and pimps.
x
This site requires cookies to function correctly.