By Melissa Blanco Borelli
She is Cuba: A family tree of the Mulata Body lines the background of the Cuban mulata and her organization with hips, sensuality and well known dance. It examines how the mulata choreographs her racialised identification via her hips and enacts an embodied idea known as hip(g)nosis. by way of concentrating on her residing and dancing physique for you to flesh out the method of identification formation, this booklet makes a declare for a way subaltern our bodies negotiate a cultural id that keeps to mark their our bodies each day. Combining literary and private narratives with ancient and theoretical bills of Cuban renowned dance heritage, religiosity and tradition, this paintings investigates the facility of embodied exchanges: our bodies looking at, taking a look, touching and dancing with each other. It units up a family tree of ways the representations and venerations of the dancing mulata proceed to stream and perform the risky political and social economic system of up to date Cuba.
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Additional resources for She is Cuba: a genealogy of the mulata body
Example text
In this way, her power and autonomy would be compromised. , the culturally coded signifier of a racialized identity recognized/agreed upon as “mulata,” a stereotype) operated as a public commodity, the visible corporeal examples in the public sphere challenged these stereotypical circulations, seeking “liberation” by whatever resources available to them. Writing in his travel journal of Cuba, which was published in 1871, Samuel Hazard describes a mulata confectioner as such: Now we meet a “dulce” [sweet] seller.
Do I want to recreate and be complicit in the historical ways of looking and considering the mulata? Or, do I startle and interrupt the expected, perhaps even contractual, response as witness and become still—still enough to consider this embodied subject in a possibly new way? Hip(g)nosis exposes the male patriarchal gaze. It addresses the political economy of pleasure and the consumption of certain bodies. It allows for the mulata to have pleasure as she wields it. Hip(g)nosis proclaims the strained histories and powerful exchanges and negotiations between race, gender, and Africanist religiosity in the Americas; it ultimately forces the viewer to acknowledge the “blackness” inherent in the history of the Americas, as it specifically relates to black female sexuality, its power, and its pleasure.
Therefore, I piece together a possible history of these places, particularly focusing on the presence and various types of corporeal labor of the bodies within them. Chapter 3, “Hip(g)nosis as Pleasure: The Mulata in Film,” examines how Cuban popular dance traveled the world via the bodies of Cuban dancers such as Ninón Sevilla or Chela Castro. I examine a variety of films featuring a Cuban mulata character: Tam Tam o El Origen de la Rumba (1938), Mulata (1954), Yambaó or Cry of the Bewitched (1957), and I Am Cuba (1964).