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THE STORY: A Cuban boy is born into a humble farming family, but after his first taste of cold Coca-Cola, he dreams of a world beyond his family's meager acre. Naively yearning to meet the President of America, the play follows his epic journey i
(Applause Acting Series). Three editors, each associated with theatre, collaborated on this book of monologues for actresses. What they discovered, besides bravura pieces for auditions, acting classes, and study, was the pulse of the millennial theatrical scene. A follow-up to the popular previous edition from the 1990s, One on One: The Best Women's Monologues for the 21st Century includes the work of over 70 playwrights, spotlighting the best of Broadway, Off-Broadway, regional, and experimental writings since 2000. A special introduction also explains how to choose, practice, and perform a speech for auditions. Comic or serious or both the monologues are written for young, old, and multicultural players by famous names and up-and-coming talent. Anna Deavere Smith records abuse in "real" relationships ( House Arrest ); August Wilson relates trials of those who survived coming to America and those who did not ( Gem of the Ocean ); and William Gibson recreates the dark, fledgling days of Israel ( Golda's Balcony ). Additional works include Are You Ready? by David Auburn, Bad Dates by Theresa Rebeck, The Committee by Brian Dykstra, and many others.
First published in Cuba in 1954 and appearing here in English for the first time, Lydia Cabrera’s El Monte is a foundational and iconic study of Afro-Cuban religious and cultural traditions. Drawing on conversations with elderly Afro-Cuban priests who were one or two generations away from the transatlantic slave trade, Cabrera combines ethnography, history, folklore, literature, and botany to provide a panoramic account of the multifaceted influence of Afro-Atlantic cultures in Cuba. Cabrera details the natural and spiritual landscape of the Cuban monte (forest, wilderness) and discusses hundreds of herbs and the constellations of deities, sacred rites, and knowledge that envelop them. The result is a complex spiritual and medicinal architecture of Afro-Cuban cultures. This new edition of what is often referred to as “the Santería bible” includes a new foreword, introduction, and translator notes. As a seminal work in the study of the African diaspora that has profoundly impacted numerous fields, Cabrera’s magnum opus is essential for scholars, activists, and religious devotees of Afro-Cuban traditions alike.
Named one of The Root's 2023 Best Books by Black Authors It's often said that Black women are magic, but what if they really are mythological? Growing up as a Black girl in America, Deborah D.E.E.P. Mouton yearned for stories she could connect to—true ones, of course, but also fables and mythologies that could help explain both the world and her place in it. Greek and Roman myths felt as dusty and foreign as ancient ruins, and tales by Black authors were often rooted too far in the past, a continent away. Mouton’s memoir is a praise song and an elegy for Black womanhood. She tells her own story while remixing myths and drawing on traditions from all over the world: mothers literally grow eyes in the backs of their heads, children dust the childhood off their bodies, and women come to love the wildness of the hair they once tried to tame. With a poet’s gift for lyricism and poignancy, Mouton reflects on her childhood as the daughter of a preacher and a harsh but loving mother, living in the world as a Black woman whose love is all too often coupled with danger, and finally learning to be a mother to another Black girl in America. Of the moment yet timeless, playful but incendiary, Mouton has staked out new territory in the memoir form.
Cakes for the Queen of Heaven explores the relationship between women's religious history and the personal issues that arise in women living in this patriarchal society. Women struggle with issues of body image, troubled mother-daughter relationships, sexual freedom and access to power. We need to know that there was a time when the female body was sacred; that there once was a long-lasting religion in which the chief divine actors were a mother and her daughter; that in very ancient times women had significant power in their societies; that although patriarchal societies have oppressed women for centuries, there have always been strong and talented women. Our female history has been erased and trivialized for too long. In this book we meet ancient goddesses and their stories from around the world, real women in ancient Sumer, in Greece, in Judaism and in Christianity. In Cakes for the Queen of Heaven the past is before us, the women are there, and they help us change our lives.
A key way to view Latina plays today is through the foundational frame of playwright and teacher Maria Irene Fornes, who has trained a generation of theatre artists and transformed the field of American theatre. Fornes, author of Fefu and Her Friends and Sarita and a nine-time Obie Award winner, is known for her plays that traverse cultural, spiritual, and aesthetic borders. In The Fornes Frame: Contemporary Latina Playwrights and the Legacy of Maria Irene Fornes, Anne García-Romero considers the work of five award-winning Latina playwrights in the early twenty-first century, offering her unique perspective as a theatre studies scholar who is also a professional playwright. The playwrights in this book include Pulitzer Prize–winner Quiara Alegría Hudes; Obie Award–winner Caridad Svich; Karen Zacarías, resident playwright at Arena Stage in Washington, DC; Elaine Romero, member of the Goodman Theatre Playwrights Unit in Chicago, Illinois; and Cusi Cram, company member of the LAByrinth Theater Company in New York City. Using four key concepts—cultural multiplicity, supernatural intervention, Latina identity, and theatrical experimentation—García-Romero shows how these playwrights expand past a consideration of a single culture toward broader, simultaneous connections to diverse cultures. The playwrights also experiment with the theatrical form as they redefine what a Latina play can be. Following Fornes’s legacy, these playwrights continue to contest and complicate Latina theatre.
• Foreword by Neil La Buteplusthe Kennedy Center imprimatur • KCACTF involves more than 18,000 college students annually—and they all need a copy of this book • KCACTF plays are staged at state, regional, and national competitions, all heavily attended • Exciting new material for theater producers, playwrights, aspiring playwrights, and drama students at every level Since 1969, the American College Theater Festival has recognized the finest work produced in college and university drama programs through state, regional, and national festivals around the country. At last, many recent competition winners have been gathered into one volume, an anthology of the work the Kennedy Center judges to be the best from our young dramatists. Entertaining, challenging, and sometimes startling, these plays introduce readers to the emerging playwrights who are sure to be the theater giants of tomorrow.
"Yemaya, Queen of the Sea, first emerged in Yorubaland (now in modern Nigeria). A primordial deity, considered the Mother of All, some perceive her to be at the root of numerous ancient goddesses, including Isis. During the Middle Passage, Yemaya accompanied her enslaved devotees to the Western Hemisphere, and through her associations with the Virgin Mary, devotion to Yemaya spread throughout Latin America. Cuban immigrants brought Yemaya with them to the US. No longer a local water spirit, she became an internationally beloved goddess, whose devotees derive from numerous traditions and who worship her in her many fluid forms. Yemaya currently ranks among the most beloved goddesses worldwide"--