Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ren Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies.
Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ren Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies.
Preface: The Ground? xi Acknowledgments xix Introduction: Cry Bomba 1 1. "¡Anormales!": Unruly Audition in Performances of 1970s Salsa 27 2. "I have been forced to hear a lot": The FALN, The Masses Are Asses, and the Sounds, Shapes, and Speeds of Puerto Rican Defiance 55 3. Sensorial Errancy in Beatriz Santiago Munoz's Cinema 91 4. Slow Lighting, Ecstatic Mourning, and Migratory Refuge 129 Coda, in Three: "fifty-two plastic bombs exploding as one, thundered against the sky" 163 Notes 171 Bibliography 203 Index 217
Preface: The Ground? xi Acknowledgments xix Introduction: Cry Bomba 1 1. "¡Anormales!": Unruly Audition in Performances of 1970s Salsa 27 2. "I have been forced to hear a lot": The FALN, The Masses Are Asses, and the Sounds, Shapes, and Speeds of Puerto Rican Defiance 55 3. Sensorial Errancy in Beatriz Santiago Munoz's Cinema 91 4. Slow Lighting, Ecstatic Mourning, and Migratory Refuge 129 Coda, in Three: "fifty-two plastic bombs exploding as one, thundered against the sky" 163 Notes 171 Bibliography 203 Index 217
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