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"Mambo (Dance)"
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Mambomania! Perez Prado, the Rise of Afro-Latin Music and the Negotiation of Race in Afro-Latin Exchange in the Fifties
Damaso Perez Prado, who would later be internationally dubbed the \"King of the Mambo\" after the success of his music in the US market, was both diminutive and dark, an unlikely symbol for sex and sensuality in the postwar US culture that created the very blonde Doris Day and very tall Rock Hudson (6'5\") as cultural icons. According to Serrano, Tizol and many of his fellow musicians were the beneficiaries of formal music training that was consistently denied to African Americans under legalized segregation. For Damaso Perez Prado, the exotica craze, which Tizol and others created, provided a point of entry into the US market but not a final destination. \"According to Ned Sublette, Fernando Castro had made this declaration based on his determination that: \"Cuban popular music was being adulterated and ran the risk of losing its original values\".
Journal Article
Dancing in the 20th century
Three-part performance of 20th-century social dances. Most of the dances are announced through dialogues spoken by the dancers.
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Mambo mania
Of African and European parentage, the mambo is the result of a long cross-cultural journey, an example of the kind of sensual alchemy which is a speciality of the Caribbean. Mambo, conga and bongo were originally Bantu names for musical instruments that were used in rituals and gradually became secular. Mambo means \"conversation with the gods\" and in Cuba designates a sacred song of the Congos, Cubans of Bantu origin.
Journal Article