Cuban women and salsa : to the beat of their own drum /
Although salsa as a musical phenomenon has garnered interest from various disciplines in the last fifteen years, the contributions of female performers to the genre has been largely ignored. Here, Poey rectifies that oversight by tracing the participation of Cuban and Cuban-American women as either...
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| Format: | Electronic eBook |
| Language: | English |
| Published: |
New York, NY :
Palgrave Macmillan,
2014.
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| Edition: | First edition. |
| Subjects: | |
| Online Access: | CONNECT |
MARC
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| 100 | 1 | |a Poey, Delia, |e author. | |
| 245 | 1 | 0 | |a Cuban women and salsa : |b to the beat of their own drum / |c Delia Poey. |
| 250 | |a First edition. | ||
| 264 | 1 | |a New York, NY : |b Palgrave Macmillan, |c 2014. | |
| 300 | |a 1 online resource (177 pages) : |b illustrations | ||
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| 504 | |a Includes bibliographical references (pages 157-172) and index. | ||
| 505 | 0 | |a Introduction -- 1. From the Streets to the Nightclub: Rita Montaner and Celeste Mendoza as Salsa Precursors -- 2. Celia Cruz: From "La guarachera de Cuba" to the "Queen of Salsa" -- 3. La Lupe: The Excessive Performance of Race and Gender -- 4. Crossing Over: Gloria Estefan's Performance of the/on the Hyphen -- 5. No se parece a nada/ Not Like Anything Else: Albita Rodriguez Bends the Rules -- Conclusion. | |
| 588 | 0 | |a Print version record. | |
| 520 | |a Although salsa as a musical phenomenon has garnered interest from various disciplines in the last fifteen years, the contributions of female performers to the genre has been largely ignored. Here, Poey rectifies that oversight by tracing the participation of Cuban and Cuban-American women as either solo artists or lead vocalists in the development and popularization of salsa. In order to explore how female singers negotiate complex issues of gender, race, and nation through their performances, Poey starts with an examination of one of the roots of salsa, Cuban music. The singers Rita Montaner and Celeste Mendoza, who both adapted traditional forms such as Rumba for different audiences, were early models for what women in salsa would become. From there, salsa took off with the careers of Celia Cruz, La Lupe, Gloria Estefan, and Albita Rodr̕guez, with their complex portrayals and interpretations of gender and racial codes. Salsa is inherently both an American and transnational phenomenon and Poey engages with the ways performers problematize the idea of the nation and facilitate their musical performances' movement across multiple borders. | ||
| 505 | 0 | |a 1. From the Streets to the Nightclub: Rita Montaner and Celeste Mendoza as Salsa Precursors -- 2. Celia Cruz: From "La guarachera de Cuba" to the Queen of Salsa -- 3. La Lupe: The Excessive Performance of Race and Gender -- 4. Crossing Over: Gloria Estefan's Performance of the/on the Hyphen -- 5. "No se parece a ""nad""a"/ Not Like Anything Else: Albita Rodr̕guez Bends the Rules -- Conclusion. | |
| 504 | |a Includes bibliographical references and index. | ||
| 546 | |a English. | ||
| 500 | |a EBSCO eBook Academic Comprehensive Collection North America |5 TMurS | ||
| 650 | 0 | |a Salsa (Music) |x History and criticism. | |
| 650 | 0 | |a Women singers |z Cuba. | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 730 | 0 | |a WORLDSHARE SUB RECORDS | |
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