The Medium and the Message investigates the incorporation of Afro-Cuban trance techniques in Western theatrical performance. Through art practice and research, I am asking two questions: how do performers, trained in Western theatrical contexts, articulate their experience with Afro-Cuban trance techniques? And how can my research methodologies illuminate the inherent intercultural tensions in ways that are productive for performance practitioners and theorists? To answer these questions, I created four new works of theatrical performance where I developed a method for performers, utilizing Afro-Cuban rituals adapted for non-practitioners. Working toward a phenomenological understanding of what is happening when a performer incorporates a character, I drew on the ritual knowledge of trance possession in Lukumí and Palo Monte in order to examine how ontologies might speak to each other in artistic practice. I also served as advisor for the creation of a fifth work in order to test the method outside of my studio. I constructed a studio practice methodology, called kanga (from the Bantu for tying and untying), using three methods based on aspects of Afro-Cuban ritual, and modified for performance contexts: spell, charm, and trance. This methodology enacts and complicates distinctions between performance and ritual, serving as a contribution to respectful and responsible intercultural performance practices. My research-led practice includes autobiographical writing and auto-ethnography under a phenomenological research methodology that uses three methods for data collection: formal recorded interviews, video footage of the studio work, and regular rehearsal debriefings. The overall methodology, bridging theory and practice, is bricoleur, drawing from ethnography, psychoanalytic theory, and phenomenology. Both research and studio work led to the articulation of a state of consciousness in performance that I call hauntological. This borrows from Derrida (1994: 10) but is redefined to refer to a state of being where reality is co-constituted by the living and the dead, where ancestral spirits are invoked to do the work once reserved for characters. Finally, this led to the construction of a creative artifact called The Ghost Lounge, an art work that evokes a hauntological state of consciousness in the viewer.

In this work, we look historically, the relationship between The First Conference of Latin American Solidarity (OLAS of thesis) held in Havana, from July 31st to August 10th 1967 and the Communist Party of Brazil (PCB), founded in 1922, manly, on issues that drives their ideological and political projects for the Latin American context in the 1960s. The resolutions of the Conference indicated the propagation of armed struggle as the only alternative to be pursued by Latin American countries against the U.S. imperialism and the Military-Civil Dictatorship established in Brazil en April of 1964. The proposal to seize power through arms, in search of socialism in Latin American, not only went against went precepts of the Latin American Communist parties, particularly the PCB, as well as put in check the effective participation of political party in the preparation for the revolutionary process in the region, being that the Cuban revolutionary experience transcended the classical Leninist strategy that envisioned in the forefront of the struggle of classes the need of representation by a communist party. OLAS was the starting point to institutionalize Cuba´s point of view regarding strategy praxis for the development of revolution in American, obligating Brazil´s political-left, PCB, to defend internally it´s programmatic resolutions, positioning itself against Cuba´s strategy of exporting their focused model of revolution, not only for the situation of Brazilian society, but also for Latin America´s. The thrust of the bibliographical analysis is the confrontation of meanings used by the concepts that organize the theme of the revolution in OLAS´s document and the response given by PCB where issues like the enemy to combat, the character of the revolution, the methods of struggle; the role of the working class´s vanguard party, and national or continental character of the revolution gain relevance. We believe that facing the clash that occurred between the OLAS, and in particular, the PCB, starting mid 1960s, both organizations, political parties or not, related or not, sought in Latin America´s convoluted scenario to counter-act America´s imperialist ordinance and find alternative but diverting paths, for the achievement of socialism. / Neste trabalho, tentaremos analisar historicamente, a relação entre A Primeira Conferência Latino-Americana de Solidariedade (OLAS) reunida em Havana, de 31 de julho a 10 de agosto de 1967 e o Partido Comunista do Brasil (PCB), fundado no ano de 1922, principalmente nas questões que tangem seus projetos políticos e ideológicos para o contexto latino-americano na década de 1960. As resoluções da Conferência acenavam para uma propagação da luta armada como única alternativa a ser seguida pelos países latino-americanos contra o imperialismo norte-americano e a Ditadura Civil-Militar instaurada no Brasil em abril de 1964. Essa proposta de tomada do poder, através das armas, em busca do socialismo na América Latina, não só ia contra os preceitos dos partidos comunistas latino-americanos, em especial, do PCB, como também, colocava em cheque a participação efetiva de um Partido para a preparação do processo revolucionário na região, uma vez que a experiência revolucionária cubana havia transcendido aquela estratégia clássica leninista que via na vanguarda da luta de classes a necessidade de ser representada por um partido comunista. A partir da OLAS institucionaliza-se o ponto de vista cubano sobre a estratégia da práxis para o desencadeamento da revolução na América Latina. Essa obriga a esquerda brasileira, o PCB, a defender internamente suas resoluções programáticas, posicionando-se contra a tática de os cubanos exportarem seu modelo foquista de revolução, não só para a conjuntura da sociedade brasileira, mas também latino-americana. O fio condutor da análise bibliográfica é a confrontação dos significados assumidos pelos conceitos que organizam a temática da revolução no documento da OLAS e na resposta dada pelo PCB, em que temas como o inimigo a se combater; o caráter da revolução; os métodos de luta; o papel do partido de vanguarda da classe operária; e o caráter nacional ou continental da revolução ganham relevância. Entende-se que, diante do embate que ocorrera entre a OLAS e, em especial, o PCB, a partir de meados década de 1960, ambas as organizações partidárias ou não, associadas ou não, procuraram no convulsionado cenário latino-americano se contrapor aos ditames do imperialismo norte-americano e encontrar caminhos alternativos, porém divergentes, para a consecução do socialismo.

Orientadores: Marcelo Gimenes, Antônio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T01:25:57Z (GMT). No. of bitstreams: 2 David_SergioLyra_M.pdf: 8364116 bytes, checksum: 20771953a548d1e1463fccad33ec3981 (MD5) David_SergioLyra_M_Anexo.zip: 134326893 bytes, checksum: 617b105c2880f4486756e9f19ce5c3b4 (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa tem como objetivo investigar aspectos da construção do latin jazz de Eddie Palmieri. Para tal propõe descrever suas características como estilo musical: estruturação musical, relações com o jazz e com a música afro-cubana, elementos culturais e sociais. Um estudo mais detalhado enfocou a música "Palmas" procurando descrever o procedimento de Palmieri na manipulação de duas linguagens musicais, o jazz e o afro-cubano. Um estudo preliminar sobre a organização rítmica na tradição musical africana foi realizado para melhor compreensão da estrutura rítmica do objeto analisado. Eddie Palmieri é pianista, compositor e arranjador. Com mais de 50 anos atuando no cenário da música latina traz em sua obra uma característica peculiar, o uso do idioma jazzístico num diálogo intenso com elementos rítmicos da música afro-cubana. Este trabalho demonstra como Eddie Palmieri manipula essas linguagens descrevendo seu estilo através da análise de áudios e partituras / Abstract: This research aims to investigate aspects of the construction of latin jazz of Eddie Palmieri. For this proposes to describe his characteristics as a musical style: musical structure, relationships with jazz and the afro-cuban music, cultural and social elements. A more detailed study focused on the song "Palmas" trying to describe Palmieri¿s procedure in handling two musical languages, jazz and afro-cuban. A preliminary study on the rhythmic organization in African musical tradition was conducted to better understand the rhythmic structure of the analyzed object. Eddie Palmieri is a pianist, composer and arranger. With over 50 years working in the latin music scene brings to his work a peculiar feature, using the jazz language in an intense dialogue with rhythmic elements of afro-cuban music. This work demonstrates how Eddie Palmieri handles these languages describing his style by analyzing audio and sheet music / Mestrado / Fundamentos Teoricos / Mestre em Música

Tradicionalmente as religiões afro-americanas são estudadas principalmente por meio de suas cerimônias, mitologia, hierarquia, organização ritual e conceitos éticos-filosóficos. Nesta tese se realiza uma aproximação da Santería1 cubana, religião de origem africana, por meio de sua cultura material. Com esta ideia se observou a presença desta religião na sociedade cubana contemporânea, inserida em um processo de transformações sócioeconômicas, em que ela, considerada uma prática subalterna assume um papel protogonista. Os objetos criados e/ou transformados para uso religioso funcionam na pesquisa como fio condutor para analisar os modos pelos quais a Santería é percebida dentro e fora da comunidade religiosa. Com esse intuito se realizou o exercício de examinar a apreensão de objetos para uso religioso em espaços públicos: museus e mercado, assim como privados: casas-templo. Questões como agência desses objetos, as redes de sociabilidade em que estão inseridos e seus processos de sacralização foram estudados com o auxílio de alguns pressupostos teóricos dos estudos sobre o consumo de cultura material. A etnografia foi decisiva para a construção da narrativa deste trabalho que confirmou a ideia de que a Santería se mantem intimamente vinculada às transformações atuais em Cuba. / Traditionally, African-American religions are mainly studied through their ceremonies, mythology, hierarchy, ritual organization and ethic-philosophical concepts. In the present thesis, one approaches the Cuban Santería, a religion of African origin, through its material culture. Bearing this in mind, we observed the presence of this religion in the Cuban contemporary society, inserted in a process of socio-economic transformations where it assumes an important role, although once it had been considered a marginal practice. The objects which are created and or transformed for the religious use are the connecting thread in the research to analyze how Santería is seen in and out of the religious community. In order to do so, we exanimated how religious objects are placed in public and private spaces for religious use: museums and markets and also the house-temples. Inquiries about the agency of those objects, the sociability networks in which they are inserted and their sacralization processes were studied with the assistance of some theoretical assumptions of the studies about the consumption of material culture. Ethnography was decisive to frame the narrative of this work, which confirmed the idea that Santería is still intimately affected and bound to the current transformations in Cuba.

Ce travail a pour dynamique la construction d’une analyse à la croisée des disciplines des sciences humaines pour mettre en avant les enjeux de la construction du ballet cubain dans la rhétorique révolutionnaire. La Ballet National de Cuba (nationalisé depuis 1959), en tant qu’institution, met en scène des mécanismes et des valeurs propres à la structure du pouvoir dans le régime castriste. Dans cette société, mue par une adaptation des théories marxistes-léninistes, la distanciation vis-à-vis de la religion laisse envisager que d’autres croyances, d’autres pratiques ou d’autres images participent à la production d’une forme de sacré qui forge le lien social et l’identité de la société cubaine. Le ballet cubain peut donc être analysé comme un témoin privilégié de ces particularités, notamment dans le sort que lui et les autorités cubaines réservent à ses icônes féminines et à la diffusion de l’idéal de la danseuse romantique. / This work has for objective the construction of an analysis between the Human Sciences inorder to put forward to advance the stakes in the construction of the Cuban ballet in the revolutionary rhetoric. The National Ballet of Cuba (nationalised since 1959), as an institution, stages mechanisms and values for the structure of the power in the Castro regime. In this society, moved by an adaptation of the theories Marxists-Leninists, the distance towards the religion let us envisage that the other faiths, the other practices or the other images participate in the production of a shape of crowned which forges the social link and the identity of the Cuban society. The Cuban ballet can be analysed thus as a privileged witness of these peculiarities, in particular in the perspetives reserve for its feminine icons and for the broadcasting of the ideal of the romantic dancer.

This collection of nine short stories follows Adelia Villalobos and Isidoro Belmonte, two Cuban Americans solving crimes in present-day South Florida. The former best friends have grown apart during college, but when Adelia is drawn into a murder case, the outcome leads Isidoro to return home and the pair to found the unlicensed detective agency, Calle Panadero (Spanish for Baker Street). Their cases explore the underside of many facets of the community, including bigamy, fraud, and criminal organizations. Along the way, they deal with love, death, and family obligations, and arrive at a new understanding of how their destinies are linked. Influenced by Agatha Christie and Jennine Capó Crucet, CALLE PANADERO revolves around protagonists living in a predominantly Hispanic community and the ties that bind them to it and each other. Although each story is a separate narrative, together they depict Adelia and Isidoro’s changing relationship and their individual growth.

Mediante de un acercamiento cronológico, esta disertación analiza la función de la ideología como herramienta poderosa para construir la nación y moldear al futuro ciudadano en la narrativa infantil cubana pre y pos-revolucionaria. Aunque una tradición y un proceso de formación de identidad nacional anteceden la literatura infantil publicada antes del triunfo de la Revolución, en los períodos posteriores existe una estrecha relación entre el contexto social de los textos y su función ideológica. Partiendo de “La Edad de Oro” (1889) de José Martí, este estudio se enfoca en los cambios socio-culturales que influyen en el desarrollo de una narrativa infantil nacional que transita del didacticismo más férreo a una variada exploración temática. Por encontrarse entre la Colonia y la etapa revolucionaria, el período republicano ha recibido poca atención crítica, marginado a veces de la herencia literaria de la nación. Sin embargo, el análisis de varios textos representativos en este período permite apreciar la integración de un pensamiento cubano desde búsquedas y posiciones muy diferentes a las del período siguiente, de 1959 a 1989. A partir de 1990 una diversificación temática fomenta objetivos muy distantes del enunciado didáctico. Este estudio concluye que en contraste con los pertenecientes a generaciones anteriores, en los escritores formados dentro de la Revolución, especialmente a partir de la década del ochenta, existe un interés especial por abordar temáticas inexploradas en la literatura infantil tradicional. El divorcio, la muerte, los conflictos generacionales y las diferencias raciales son sólo algunos de los temas que matizan la narrativa infantil posrevolucionaria, cuyos presupuestos ideo-estéticos, se encuentran intrínsecamente relacionados al contexto sociocultural.

My purpose in writing this collection of lyric essays is to examine my evolution during one decade, from age 19 to 29. Essential questions have guided me: What stimulated change? What formed my decisions? What predisposed me to my relationship with my partner? Why did I want to have a child? What kind of relationship do I have with my son? How did my relationship with my partner evolve? Why did we decide to leave Miami? Hopefully, I have given the reader a glimpse into my movement from self-centeredness to motherhood, from aloof adolescent to committed partner, from timid daughter to self-aware individual. The nature of my inquiry led me to confessional conclusions that clarified my reactive behavior or lack of initiative, which my initial memories of the same events often disguised. These confessions are sometimes as satisfying as the more celebratory moments themselves, because they challenge older notions of self and invite the possibility of change. Specific authors who have provided models of substance and style include, but are not limited to Annie Dillard, Maxine Hong Kingston, Sharon Olds, Michael Ondaatje, and Richard Rodriguez. I use lyrical techniques to translate my experiences into crafted prose. I incorporate recurring lines to create links between essays that stand alone, thereby forming a sequence. Some experiences are so personal and specific to me that using an adopted form, such as a repurposed fairy tale, a cento, and the inverted pyramid, has allowed me to create a measure of distance from the subject, which I found necessary for rendering it clearly. I allude to specific songs to help me establish exposition and lend tone and texture to my scenes. I chose to use the second person and direct my words to a specific audience, such as my mother, my partner, or my son, because at times it feels more authentic to let the reader listen to the way I speak to that person than to tell about the relationship. I also chose to capture the voices of certain people speaking directly to me in order to establish the most authentic speaker. My effort to answer essential questions sometimes conjured scenes from the distant past. I use line breaks to let the reader fill in the gaps or make the leap to explore connections across time. Juxtaposition and prolepsis link these tableaus so the reader can see my life and uncover the answers along with me.

The purpose of this thesis was to explore how alchemy has influenced Carlos Estevez’s work through a study of the symbolic repertoire and the philosophical concepts associated with it in his art, particularly how these are expressed in his artworks and how alchemy has evolved thematically in his oeuvre. The study of alchemy influenced this artist so deeply that even pieces that were not primarily inspired by this philosophical system show traces of it, essentially by representing the concept of transformation, crucial to understanding the alchemical process. This thesis is based on Carl Gustav Jung’s idea of metaphysical transformation as one of the main aspects of alchemy, and on his theory of active imagination as a tool to represent thoughts through artworks. Alchemy transformed Estevez’s art, and by extension the way he approaches life, making him conscious of the importance of transmutation and alchemical concepts.

Despite progress that has been made in the areas of maternal acculturation and internalizing symptoms in Hispanic youth, much remains to be learned about the relation between maternal acculturation and youth anxiety. The inclusion of cognitive vulnerabilities such as anxiety sensitivity (AS) further adds to the understanding the development of anxiety in Hispanic youth. Examining the role that youth age and youth sex play in the relation between AS and youth anxiety symptoms also can further understanding of the development of youth anxiety. Thus, the specific aims of this dissertation were to examine whether: (1) a confirmatory factor analysis (CFA) would yield a two factor structure of the Stephenson Multigroup Acculturation Measure (SMAS; Stephenson, 2000); (2) maternal acculturation as measured by the SMAS is related to youth anxiety symptoms; (3) mother country of origin (i.e, Cuban or another Latin country) moderates the relation between youth AS and youth anxiety symptoms; (4) youth age moderates the relation between youth AS and youth anxiety symptoms; (5) youth sex moderates the relation between youth AS and youth anxiety symptoms. In addition, research has shown Hispanic youth report more anxiety symptoms than non-Hispanic youth. The Revised Children’s Manifest Anxiety Scale’s (RCMAS; Reynolds & Richmond, 1978) Lie Scale was included to examine whether it relates to Hispanic youths’ reporting of anxiety symptoms in the current sample. There were no significant differences in youth anxiety associated with the mother country of origin. Specifically, Cuban mothers and mothers from other Hispanic countries of origin did not significantly differ in their ratings of their child’s anxiety symptoms. Mother country of origin did not moderate the relation between AS and youth anxiety symptoms. Also, no significant findings were found with respect to effects of age on the relation between anxiety sensitivity and anxiety. The study’s main contributions and potential implications on theoretical, empirical, and clinical levels are further discussed.