Biblioteca Digital de VanguardiaCon respeto a Califé: carnaval, teatro y negritud dominicana
Dominican plays that rely on carnival build bridges to Africanness and blackness through literary and perfomative techniques of evasion: masking, humor, irony, satire. This essay examines F. Disla’s 1985 play, Ramón Arepa, for its incorporation of the movements—both figurative and literal—associated...
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| Formato: | info:eu-repo/semantics/article |
| Lenguaje: | Español |
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Universidad de Chile. Facultad de Filosofía y Humanidades
2018
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| Acceso en línea: | https://meridional.uchile.cl/index.php/MRD/article/view/48849 http://biblioteca-repositorio.clacso.edu.ar/handle/CLACSO/78042 |
| Sumario: | Dominican plays that rely on carnival build bridges to Africanness and blackness through literary and perfomative techniques of evasion: masking, humor, irony, satire. This essay examines F. Disla’s 1985 play, Ramón Arepa, for its incorporation of the movements—both figurative and literal—associated with Afro-creolized carnival traditions. Disla’s play routes its carnivalesque humor and masking specifically through Califé, Dominican carnival’s social critic par excellence. Situating Ramón Arepa within a wider Caribbean theater and performance tradition, the paper turns to Disla’s use of Califé to argue for the need to approach Dominican blackness with a different set of eyes and ears, to attempt to notice the way Dominican blackness manifests in literal, aesthetic, and performative movement |
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