Book contents
- The Cambridge History of Latina/o American Literature
- The Cambridge History of Latina/o American Literature
- Copyright page
- Dedication
- Contents
- Contributors
- Acknowledgements
- Chronology
- Introduction
- Part I Rereading the Colonial Archive
- Part II The Roots and Routes of Latina/o Literature
- Part III Negotiating Literary Modernity
- 14 Oratory, Memoir, and Theater
- 15 Literary Revolutions in the Borderlands
- 16 Making It Nuevo
- 17 The Archive and Afro-Latina/o Field-Formation
- 18 Floricanto en Aztlán
- 19 “The Geography of Their Complexion”
- 20 Cuban American Counterpoint
- 21 Latina/o Theatre and Performance in the Context of Social Movements
- Part IV Literary Migrations across the Americas, 1980–2017
- Epilogue
- Bibliography
- Index
- References
14 - Oratory, Memoir, and Theater
Performances of Race and Class in the Early Twentieth-Century Latina/o Public Sphere
from Part III - Negotiating Literary Modernity
Published online by Cambridge University Press: 16 February 2018
Book contents
- The Cambridge History of Latina/o American Literature
- The Cambridge History of Latina/o American Literature
- Copyright page
- Dedication
- Contents
- Contributors
- Acknowledgements
- Chronology
- Introduction
- Part I Rereading the Colonial Archive
- Part II The Roots and Routes of Latina/o Literature
- Part III Negotiating Literary Modernity
- 14 Oratory, Memoir, and Theater
- 15 Literary Revolutions in the Borderlands
- 16 Making It Nuevo
- 17 The Archive and Afro-Latina/o Field-Formation
- 18 Floricanto en Aztlán
- 19 “The Geography of Their Complexion”
- 20 Cuban American Counterpoint
- 21 Latina/o Theatre and Performance in the Context of Social Movements
- Part IV Literary Migrations across the Americas, 1980–2017
- Epilogue
- Bibliography
- Index
- References
Summary
This chapter gives an overview of oratorical practices in a variety of Latina/o performance and memoir texts of the early twentieth century. It argues that the artistic and political effects of speaking aloud as Latinas/os in public and private during the period are simultaneously ephemeral (lost in the moments of embodied, unrecorded speaking occasions) and enduring (marked by listeners and speakers in their auditory systems and memories and traced by the materials of print culture and the archive). The Latina/o radicals and artists (often one and the same) of oratorical performance participated in labor organizing, cigar-factory lecturas (readings), poetry recitals, and the phenomenon of “Afro-Latina/o-on-Afro-Latina/o” blackface theater. Emma Tenayuca, Luisa Capetillo, Eusebia Cosme, and Alberto O’Farrill deliver the power and beauty of the raised, resisting, entertaining voice in Mexican America, transnational Puerto Rico, and Afro-Cuban America during Latina/o modernism
- Type
- Chapter
- Information
- The Cambridge History of Latina/o American Literature , pp. 309 - 333Publisher: Cambridge University PressPrint publication year: 2018
References
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