MACMILLAN Performing Race and Erasure: Cuba, Haiti, and US Culture, 1898–1940 (Palgrave Studies in Theatre and Performance History)

In this book, Shannon Rose Riley provides a critically rich investigation of representations of Cuba and Haiti in US culture in order to analyze their significance not only to the emergence of empire but especially to the reconfiguration of US racial structures along increasingly biracial lines. Based on impressive research and with extensive analysis of various textual and performance forms including a largely unique set of skits, plays, songs, cultural performances and other popular amusements, Riley shows that Cuba and Haiti were particularly meaningful to the ways that people in the US re-imagined themselves as black or white and that racial positions were renegotiated through what she calls acts of palimpsest: marking and unmarking, racing and erasing difference. Riley’s book demands a reassessment of the importance of the occupations of Cuba and Haiti to US culture, challenging conventional understandings of performance, empire, and race at the turn of the twentieth century.  Review “Riley’s sophisticated study expands and challenges our knowledge of race, empire, and nation. She shows that the U.S. did not just export racial ideas and practices to the Caribbean islands it occupied and attempted to control. Race at home was also remade in ruling, fearing, and imagining Cuba and Haiti. Seeing music and performance more generally as sites of empire’s memory and forgetting Performing Race and Erasure brilliantly shows that a hardening sense that race could be reduced to black and white took shape outside the U.S. as well as inside.” (David Roediger, Foundation Distinguished Professor of International & Interdisciplinary Studies, University of Kansas, USA) From the Back Cover In this book, Shannon Rose Riley provides a critically rich investigation of representations of Cuba and Haiti in US culture in order to analyze their significance not only to the emergence of empire but especially to the reconfiguration of US racial structures along increasingly biracial lines. Based on impressive research and with extensive analysis of various textual and performance forms including a largely unique set of skits, plays, songs, cultural performances and other popular amusements, Riley shows that Cuba and Haiti were particularly meaningful to the ways that people in the US re-imagined themselves as black or white and that racial positions were renegotiated through what she calls acts of palimpsest: marking and unmarking, racing and erasing difference. Riley’s book demands a reassessment of the importance of the occupations of Cuba and Haiti to US culture, challenging conventional understandings of performance, empire, and race at the turn of the twentieth century. About the Author Shannon Rose Riley is an interdisciplinary artist and scholar. She is Associate Professor, Chair of the Department of Humanities, and Coordinator of the Creative Arts Program at San José State University, USA, and is co-editor, with Lynette Hunter, of Mapping Landscapes for Performance as Research: Scholarly Acts and Creative Cartographies (2009).