Poemas De Un Balsero

Haciendo acopio del oído musical que el pueblo cubano cultiva desde siempre para el ritmo y las canciones, Juan Evelio Romero desgrana en estos versos la experiencia conmovedora y cruel que debe afrontar un balsero. No conforme con ello, su poesía traza un recorrido por la cruda realidad del exiliado en relación a su familia y sus amigos, y despliega un abanico completo de sentimientos que se expone con pasión y sin falsos pudores a la vista del lector.

A panoramic portrait of the Cuban American community, Marielitos, Balseros and Other Exiles shares the joys, tragedies and amazing resilience of the Cuban immigrants who arrived in the US via the Mariel boat lift of 1980 and the rafters (balseros) who came in the years afterwards. The stories in this debut collection reveal the full social, economic and emotional scope of the immigration experience - from the repression experienced in Cuba to the discrimination faced in the US and the struggles to build new lives. An arresting work.

"Transcripciones de entrevistas con varios 'balseros' muchos de los que se echaron al mar en 1994. Narran las razones de sus salidas, la vida diaria, las condiciones de la salud pública y educación en la isla, así como la travesía marítima, la estancia en los campamentos y sus esperanzas de futuro"--Handbook of Latin American Studies, v. 58.

"The one source that sets reference collections on Latin American studies apart from all other geographic areas of the world.... The Handbook has provided scholars interested in Latin America with a bibliographical source of a quality unavailable to scholars in most other branches of area studies." —Latin American Research Review Beginning with volume 41 (1979), the University of Texas Press became the publisher of the Handbook of Latin American Studies, the most comprehensive annual bibliography in the field. Compiled by the Hispanic Division of the Library of Congress and annotated by a corps of more than 130 specialists in various disciplines, the Handbook alternates from year to year between social sciences and humanities. The Handbook annotates works on Mexico, Central America, the Caribbean and the Guianas, Spanish South America, and Brazil, as well as materials covering Latin America as a whole. Most of the subsections are preceded by introductory essays that serve as biannual evaluations of the literature and research under way in specialized areas. The Handbook of Latin American Studies is the oldest continuing reference work in the field. Lawrence Boudon, of the Library of Congress Hispanic Division, has been the editor since 2000, and Katherine D. McCann has been assistant editor since 1999. The subject categories for Volume 60 are as follows: Art History (including ethnohistory) Literature (including translations from the Spanish and Portuguese) Music Philosophy: Latin American Thought

Cuban music is recognized unanimously as a major historical force behind Latin American popular music, and as an important player in the development of US popular music and jazz. However, the music produced on the island after the Revolution in 1959 has been largely overlooked and overshadowed by the Buena Vista Social Club phenomenon. The Revolution created the conditions for the birth of a type of highly sophisticated popular music, which has grown relatively free from market pressures. These conditions premised the new importance attained by Afro-Cuban dance music during the 1990s, when the island entered a period of deep economic and social crisis that has shaken Revolutionary institutions from their foundations. Vincenzo Perna investigates the role of black popular music in post-Revolutionary Cuba, and in the 1990s in particular. The emergence of timba is analysed as a distinctively new style of Afro-Cuban dance music. The controversial role of Afro-Cuban working class culture is highlighted, showing how this has resisted co-optation into a unified, pacified vision of national culture, and built musical bridges with the transnational black diaspora. Musically, timba represents an innovative fusion of previous popular and folkloric Afro-Cuban styles with elements of hip-hop and other African-American styles like jazz, funk and salsa. Timba articulates a black urban youth subculture with distinctive visual and choreographic codes. With its abrasive commentaries on issues such as race, consumer culture, tourism, prostitution and its connections to the underworld, timba demonstrates at the 'street level' many of the contradictions of contemporary Cuban society. After repeatedly colliding with official discourses, timba has eventually met with institutional repression. This book will appeal not only to ethnomusicologists and those working on popular music studies, but also to those working in the areas of cultural and Black studies, anthropology, Latin American st