Jill Lane teaches theatre studies and American studies at Yale University.

• Preface. On the Translation of RaceIntroduction. ImpersoNation in Our AmericaChapter 1. Blackface Costumbrismo, 1840-1860Chapter 2. Anticolonial Blackface, 1868Chapter 3. Black(face) Public Spheres, 1880-1895Chapter 4. National Rhythm, Racial Adulteration, and the DanzÓn, 1881-82Chapter 5. Racial Ethnography and Literate Sex, 1888Conclusion. Cubans on the Moon, and Other Imagined CommunitiesNotesBibliographyIndexAcknowledgments

"Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity." (Doris Sommer, Harvard University) "A valuable source on nineteenth-century Cuban cultural manifestations. Highly recommended." (Choice)

Jill Lane teaches theatre studies and American studies at Yale University.

• Preface. On the Translation of RaceIntroduction. ImpersoNation in Our AmericaChapter 1. Blackface Costumbrismo, 1840-1860Chapter 2. Anticolonial Blackface, 1868Chapter 3. Black(face) Public Spheres, 1880-1895Chapter 4. National Rhythm, Racial Adulteration, and the DanzÓn, 1881-82Chapter 5. Racial Ethnography and Literate Sex, 1888Conclusion. Cubans on the Moon, and Other Imagined CommunitiesNotesBibliographyIndexAcknowledgments

"Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity." (Doris Sommer, Harvard University) "A valuable source on nineteenth-century Cuban cultural manifestations. Highly recommended." (Choice)

Jill Lane teaches theatre studies and American studies at Yale University.

• Preface. On the Translation of RaceIntroduction. ImpersoNation in Our AmericaChapter 1. Blackface Costumbrismo, 1840-1860Chapter 2. Anticolonial Blackface, 1868Chapter 3. Black(face) Public Spheres, 1880-1895Chapter 4. National Rhythm, Racial Adulteration, and the DanzÓn, 1881-82Chapter 5. Racial Ethnography and Literate Sex, 1888Conclusion. Cubans on the Moon, and Other Imagined CommunitiesNotesBibliographyIndexAcknowledgments

"Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity." (Doris Sommer, Harvard University) "A valuable source on nineteenth-century Cuban cultural manifestations. Highly recommended." (Choice)