Perú Negro: (Registro nro. 204)
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| 000 -Cabecera (24) | |
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| Campo de control interno | 02450nam a22001934a 4500 |
| 001 - Número de control | |
| Campo de control | LAFROP |
| 006 - ELEMENTOS DE DATOS DE LONGITUD FIJA - CARACTERÍSTICAS ADICIONALES DEL MATERIAL - INFORMACIÓN GENERAL | |
| Campo de control de longitud fija | a||||gr|||| 001 0 |
| 007 - Tipo material - Descripcion fisica - info general | |
| Tipo material | ta |
| 008 - Códigos de longitud fija (40p) | |
| Campo de control de longitud fija | t pe gr 00| 0 spa d |
| 040 ## - Origen de la Catalogacion | |
| Origen de la Catalogacion | LAFROP |
| 041 ## - Código de idioma (R) | |
| Código de lengua del texto/banda sonora o título independiente (R) | eng |
| 100 ## - Autor Personal | |
| Autor Personal | Paredes, Luis |
| 245 ## - Titulo | |
| Titulo | Perú Negro: |
| Subtitulo | choreographing and performing afro-peruvian identity, 1969 to the present |
| 260 ## - Editorial | |
| Ciudad | Nueva York |
| Nombre de la Editorial | State University of New York at Albany |
| Fecha | 2015 |
| 300 ## - Descripcion | |
| Páginas | 413 p. |
| 502 ## - Nota de Tesis | |
| Tesis, informe académico, etc | Tesis del Departament Spanish-Latin American and Caribbean Studies. |
| 520 ## - Resumen | |
| Resumen | Founded in 1969 in Lima, Perú Negro is now the most widely recognized Afro-Peruvian dance and music company. In order to emphasize the black presence in a nation that has dominantly narrated itself as mestizo, Perú Negro has produced representations of blackness that are grounded both on the history of slavery and on Diasporic idealizations of Africanness. While meant to value blackness through its music and dance performance, Perú Negro’s representations have contributed to romanticize the slave past and essentialize the African roots. This is made clear in the group’s concept of “family” upon which Perú Negro has relied to define who can and cannot belong to the group as well as who is capable of performing blackness. Central to this concept is the idea of blood, both in terms of blood relationships and the “black tendencies,” have been passed down from generation to generation. Membership was exclusive to Afro-Peruvians (the darker-skinned, the “better”). The practice of “keeping it in the family” dates back to the founding of the company and it also relates to the enslaved communities that survived the colonial regime. I am analyzing Perú Negro’s history as divided into three phases, which are characterized by major developments on the international, national and local levels. I arrived at this three-phase historical trajectory by analyzing the following: the shifting context of the Peruvian nation, Perú Negro’s relationship with the state<br/>and other sponsors, Perú Negro’s process of internationalization, Perú Negro’s definition of<br/>its membership, and the company’s choreographies, music and lyrics. The central research<br/>topics of my project are: Black Identity and the Black Body, Black Identity and the Past, Black<br/>Identity and Place, and Commodification of Blackness. (Tomado de la tesis)<br/> |
| 942 ## - Datos personalizados Koha | |
| Tipo de Documento | Libros, monografías |
| Fecha procesamiento | 2022-06-27 |
| Catalogador | pvd |
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