Alexandra T Vazquez
Biographic Data
| ID | 766420 |
|---|---|
| NAME | Alexandra T Vazquez |
| GIVEN NAMES | Alexandra T |
| FAMILY NAME | Vazquez |
| SIGNATURE | VAZQUEZ A T |
| AFFILIATIONS | New York University |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 3 |
| AUTHOR COUNT | 7 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2006 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
"Revolutions in Sound": Keynote Duet
You Can Bring All Your Friends
Alexandra T. Vazquez hopes that her Listening in Detail: Performances of Cuban Music (Duke, 2013) can be a historical contribution to the work now being done in the fresh waves of Miami studies. At the generous urging of reviewers Alejandra Bronfman, Celeste Fraser Delgado, and Samantha Pinto-and as a way to honor their time and add-to-Vazquez introduces some new work to continue her long-term project that leaves open creative room for involvemen…
Learning to Live in Miami
Learning to Live in Miami" takes another look and listen to Cuban exilic creativity from a city imagined as both refuge and terminus: a location that preoccupies Greater Cuba with sensations of revulsion, pleasure, and disavowal. With the encouragement of Lydia Cabrera, the performance innovators behind Teatro Prometeo, the disco supergroup Foxy, and other artists-in-residence of past and present, Vazquez pries open the familiar narrativizing abo…
Parts of a World
Drawing on the mentoring genealogy José Esteban Muñoz emerges from, Vazquez points to how his pedagogical style and ways are accumulative of his own extension from Paul de Man to Eve Sedgwick. This extension is also a mode of giving away, a sharing of vulnerability and excess that is resoundingly Cuban, brown, and queer
How Can I Refuse?: How Can I Refuse?
Can You Feel the Beat
Freestyle is both a musical genre and, as a multitude of fanzines will tell you, a lifestyle. The playwright Jorge Ignacio Cortiñas evoked our teenage surround when he called it a “system of living.” Described as “android descarga” by music critic Peter Shapiro and “a soap opera set to music” by the vocalist Judy Torres, there is general agreement that freestyle is constituted by a nebulous Latin feel that is spoken about but not necessarily acco…
Una Escuela Rara: Havana Meets Harlem in Montmartre
This article analyzes the work of Graciela Pérez, best known as the vocalist for the New York based band Machito and His Afro-Cubans, a founding group for what comes to be known as ‘Cubop’ or Latin Jazz. Her overall oeuvre, however, spans from the early 1930s to 2004, travels through several continents, and by default, genres. I pay particular attention to an oral history Pérez recorded with the Smithsonian museum in 1998. I argue that the record…
Learning to Live in Miami
Learning to Live in Miami" takes another look and listen to Cuban exilic creativity from a city imagined as both refuge and terminus: a location that preoccupies Greater Cuba with sensations of revulsion, pleasure, and disavowal. With the encouragement of Lydia Cabrera, the performance innovators behind Teatro Prometeo, the disco supergroup Foxy, and other artists-in-residence of past and present, Vazquez pries open the familiar narrativizing abo…
Una Escuela Rara: Havana Meets Harlem in Montmartre
This article analyzes the work of Graciela Pérez, best known as the vocalist for the New York based band Machito and His Afro-Cubans, a founding group for what comes to be known as ‘Cubop’ or Latin Jazz. Her overall oeuvre, however, spans from the early 1930s to 2004, travels through several continents, and by default, genres. I pay particular attention to an oral history Pérez recorded with the Smithsonian museum in 1998. I argue that the record…
Can You Feel the Beat
Freestyle is both a musical genre and, as a multitude of fanzines will tell you, a lifestyle. The playwright Jorge Ignacio Cortiñas evoked our teenage surround when he called it a “system of living.” Described as “android descarga” by music critic Peter Shapiro and “a soap opera set to music” by the vocalist Judy Torres, there is general agreement that freestyle is constituted by a nebulous Latin feel that is spoken about but not necessarily acco…
How Can I Refuse?: How Can I Refuse?
Learning to Live in Miami
Learning to Live in Miami" takes another look and listen to Cuban exilic creativity from a city imagined as both refuge and terminus: a location that preoccupies Greater Cuba with sensations of revulsion, pleasure, and disavowal. With the encouragement of Lydia Cabrera, the performance innovators behind Teatro Prometeo, the disco supergroup Foxy, and other artists-in-residence of past and present, Vazquez pries open the familiar narrativizing abo…
Parts of a World
Drawing on the mentoring genealogy José Esteban Muñoz emerges from, Vazquez points to how his pedagogical style and ways are accumulative of his own extension from Paul de Man to Eve Sedgwick. This extension is also a mode of giving away, a sharing of vulnerability and excess that is resoundingly Cuban, brown, and queer
You Can Bring All Your Friends
Alexandra T. Vazquez hopes that her Listening in Detail: Performances of Cuban Music (Duke, 2013) can be a historical contribution to the work now being done in the fresh waves of Miami studies. At the generous urging of reviewers Alejandra Bronfman, Celeste Fraser Delgado, and Samantha Pinto-and as a way to honor their time and add-to-Vazquez introduces some new work to continue her long-term project that leaves open creative room for involvemen…
"Revolutions in Sound": Keynote Duet
Art (4 works) · Computer Science (4 works) · History (4 works) · Music History and Culture (4 works) · Sociology (4 works) · Acoustics (2 works) · Art history (2 works) · Cuban History and Society (2 works) · Diverse Musicological Studies (2 works) · Latin American and Latino Studies (2 works)