Teresa María Díaz Nerio | Ni ‘mamita’ Ni ‘mulatita’
Teresa María Díaz Nerio
Alex Woodward/Arika 13
Lire notre interview avec Teresa María Díaz Nerio pour en savoir plus sur sa performance Ni ‘mamita’ Ni ‘mulatita’
Ni ‘mamita’ Ni ‘mulatita’ is a lecture-performance based on research done under the same title Ni ‘mamita’ Ni ‘mulatita’: Caribbean Women Stereotypes and the Diaspora, where I am looking into the appearances of Blackmestizas in cinema, television and radio in the Spanish Caribbean and Mexico of the 40s and 50s. The stereotypes of the oversexualized ‘mulata’ and the “faithful servant” or ‘mamita’ serve to illustrate how this figures emerged during colonialism often becoming symbols of nationalist renderings after independence. In Ni ‘mamita’ Ni ‘mulatita’ I deconstruct the film Yambao 1957, featuring Cuban rumbera Ninon Sevilla, the film is played in a plantation in 1850’s Cuba and Ninon Sevilla plays a ‘mulata’ called Yambao, dissident, trickster and maroon, personifying Ochun, the Goddess of Love in Cuban Santeria. The performance deconstructs white supremacist imageries in the film, the use of brownface and blackface, as well as offering a decolonial reading focused on the use of Afro-Cuban dances, songs, rituals, and the participation of many Black women singers like Merceditas Valdez, Xiomara Alfaro, Martha Jean Claude, Olga Guillot as well as other uncredited voices like Juana Bacalao, Celia Cruz and Jean Ophilias, La Haitianita.