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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 3. Poster by Antonio Martorell featuring a portrait of Pedro Albizu Campos and commemorating El Grito de Jayuya (the Jayuya Revolt) in Puerto Rico and the 1954 attack on the House of Representatives, led by female nationalist Blanca Canales and Lolita Lebrón, respectively. Reprinted in Palante (the Young Lords Party’s newsletter) 2.3 (1970): 35. Courtesy Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY.
Figure 4. Illustration by Jaime Carrero humorously addressing the complexity of what it means to be Puerto Rican. From Notes of Neorican Seminar (1972). Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY. Courtesy of Maria Dolores Carrero and the Carrero family.
Figure 5. Cover of Notes of Neorican Seminar (1972) by Jaime Carrero, comically illustrating how Puerto Ricans in New York negotiate living between two cultures and languages. Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY. Courtesy of Maria Dolores Carrero and the Carrero family.
Figure 6. Jaime Carrero reveals the trauma of cultural disavowal in his poem “Neo-Rican Lessons” and illustration of a decapitated man. Reprinted in Notes of Neorican Seminar (1972) from the San Juan Review. Center for Puerto Rican Studies Library and Archives, Hunter College, CUNY. Courtesy of Maria Dolores Carrero and the Carrero family.
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