Dominican plays that rely on carnival build bridges to Africanness and blackness through literary and perfomative techniques of evasion: masking, humor, irony, satire. This essay examines F. Disla’s 1985 play, Ramón Arepa, for its incorporation of the movements—both figurative and literal—associated with Afro-creolized carnival traditions. Disla’s play routes its carnivalesque humor and masking specifically through Califé, Dominican carnival’s social critic par excellence. Situating Ramón Arepa within a wider Caribbean theater and performance tradition, the paper turns to Disla’s use of Califé to argue for the need to approach Dominican blackness with a different set of eyes and ears, to attempt to notice the way Dominican blackness manifests in literal, aesthetic, and performative movement
Keywords:
Dominican Republic, black diaspora, theater, carnival
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How to Cite
Gopal Chetty, R. (2018). Con respeto a Califé: carnaval, teatro y negritud dominicana: carnaval, teatro y negritud dominicana. Meridional. Revista Chilena De Estudios Latinoamericanos, (10), 105–125. https://doi.org/10.5354/mrd.v0i10.48849
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