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Tuning Out Blackness
Tuning Out Blackness fills a glaring omission in U.S. and Latin American television studies by looking at the history of Puerto Rican television. In exploring the political and cultural dynamics that have shaped racial representations in Puerto Rico’s commercial media from the late 1940s to the 1990s, Yeidy M. Rivero advances critical discussions about race, ethnicity, and the media. She shows that televisual representations of race have belied the racial egalitarianism that allegedly pervades Puerto Rico’s national culture. White performers in blackface have often portrayed “blackness” in local television productions, while black actors have been largely excluded. Drawing on intervi...
Choice, Persuasion, and Coercion
This volume considers the responses to the social and institutional norms of the Spanish colonial system along Spain's northern frontier provinces.
Reassessing Revitalization Movements
The escalating political, economic, and cultural colonization of indigenous peoples over the past few centuries has spawned a multitude of revitalization movements. These movements promise liberation from domination by outsiders and incorporate and rework elements of traditional culture. Reassessing Revitalization Movements is the first book to discuss and compare in detail the origins, structure, and development of religious and political revitalization movements in North America and the Pacific Islands (known as Oceania). The essays cover the twentieth-century Cargo Cults of the South Pacific, the 1870 and 1890 Ghost Dance movements in western North America, the Tuka Movement on Fiji in 18...
The Moncada Attack
The account of Fidel Castro's rise to power is not complete without mention of the failed atacks of July 26, 1953, on the Cuban army garrisons at Moncada and Bayamo. This text views this initial overthrow attempt as a propaganda victory that marked the start of Castro's ascent to national power.
The Book of Blood
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We Are the Land
Introduction -- A people of the land, a land for the people : Yuma -- Beach encounters : indigenous people and the age of exploration, 1540-1769 : San Diego -- "Our country before the Fernandino arrived was a forest" : native towns and Spanish missions in colonial California, 1769-1810 : Rome -- Working the land : entrepreneurial Indians and the markets of power, 1811-1849 : Sacramento -- "The white man would spoil everything" : indigenous people and the California gold rush, 1846-1873 : Ukiah -- Working for land: rancherias, reservations, and labor, 1870-1904 : Ishi Wilderness -- Friends and enemies : reframing progress, and fighting for sovereignty, 1905-1928 : Riverside -- Becoming the Indians of California : reorganization and justice, 1928-1954 : Los Angeles -- Reoccupying California : resistance and reclaiming the land, 1953-1985 : Berkeley and the East Bay -- Returning to the land : sovereignty, self-determination and revitalization since -- Conclusion : returns
We Are Not Animals
"We Are Not Animals traces the history of Indigenous people in the Santa Cruz area through the nineteenth century, examining the influence of Native political, social, and cultural values and these people's varied survival strategies in response to colonial encounters"--
Juan Bautista Plaza and Musical Nationalism in Venezuela
Juan Bautista Plaza (1898-1965) was one of the most important musicians in the history of Venezuela. In addition to composing in a variety of genres and styles, he was the leading figure in Venezuelan music education and musicology at a time when his compatriots were seeking to solidify their cultural identity. Plaza's compositions in the emerging nationalist style and his efforts to improve musical institutions in his home country parallel the work of contemporaneous Latin American musicians including Carlos Chávez of Mexico, Amadeo Roldán of Cuba, and Camargo Guarnieri of Brazil. Plaza's life and music are little studied, and Labonville's ambitious book is the first in English to be based on his extensive writings and compositions. As these and other documents show, Plaza filled numerous roles in Venezuela's musical infrastructure including researcher, performer, teacher, composer, promoter, critic, chapel master, and director of national culture. Labonville examines Plaza's many roles in an attempt to assess how the nationalist spirit affected art music culture in Venezuela, and what changes it brought to Venezuela's musical landscape.
