List of Illustrations  ix

Acknowledgments  xi

Prologue: The Red Blood of Cuban Identity  xix

Introduction: More than Just Scenery  1

1. Revolution and Revolutionary Performance or, what happens when el negrito, la mulata, and el gallego meet el Hombre Nuevo  41

2. Artists in the Special Period, Option Zero, and the Hombre Novísimo or, the heroic rescue of Liborio and Elpidio Valdés  76

3. Creative Process and Play-Making in Cumanayagua or, waiting for Atilio on the side of a country road   111

4. The Inundation of Siguanea and Cuba or, the near drowning and rescue of Cuba's Godot  142

5. Cultural Crusades and the Unsung Artists of Guantánamo or, how Don Quixote Saves humble Harriero from the devil  175

6. Storytellers and the Story Told: Voices and Visions in the Zones of Silence or, who wins the wager if the cockfight ends in a draw  218

7. Dramatic Irony and Janus-Faced Nationalism or, the triumphant stage return of el negrito and mister Smith  259

Notes  279

Glossary  291

Sources Cited  297

Index  325

"Engagingly written, theoretically astute, and based on extensive ethnographic work, Laurie A. Frederik's new book provides important insights into underexplored aspects of Cuban revolutionary culture. She considers the dynamics of socially engaged theater from the perspective of actors and audiences themselves and explores debates over national identity and the goals of the revolutionary project as negotiated far from the centers of state control. An important contribution."—Robin Moore, author of Music in the Hispanic Caribbean: Experiencing Music, Expressing Culture

"Trumpets in the Mountains is a journey into the rural heartland of Cuba, where few foreigners dare to go . . . and that includes Cubans who've never ventured beyond the city of Havana. Here is a portrait of a Cuba that has escaped the notice of the media, a world where theater people go to country towns and villages to engage in performative dialogues with farm workers about the meaning of the revolution. Drawing on years of fieldwork and personal participation in popular theater, Laurie A. Frederik shows how artistic creativity flourishes in everyday Cuban life in some of the most out-of-the-way places, and offers rich ethnographic examples of how theater has become the perfect stage for acting out the hopes that Cubans still have of building a more just world. Written with sincere affection, this is one of those rare books that gives back to Cuba."—Ruth Behar, author of An Island Called Home: Returning to Jewish Cuba

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