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Chapter 5 is a meditation on the choreographies of fugitive public assembly that rumba opens. The chapter situates an atypical (though far from singular) night at a public theater within the changing racial geography of “updating” Havana, wherein whites increasingly flee to burgeoning private-business establishments. The possibility of spiritual immanence in state-owned venues accessible to poorer Blacks beckons deeper consideration of what creative maneuvers within staged folkloric performance can mean beside a Black radical imaginary beyond “resistance.” A dance analytics allows for consideration of constrained improvisations in broader diasporic relation and their black feminist potentialities.

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