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[Ellington Walford]

"My mother's a pediatrician, and when I was young, she'd tell the craziest stories," Kahiu began. "One of the stories she told was that if you eat a lot of salt, all the blood rushes up to your legs through your body ... to the top of your head, killing you instantly! She called it high blood pressure.

She's gone on to make sci-fi movies. And that's what brought her to TED. "The hook that caught our attention was science fiction filmmaking in Africa," says Tom Rielly, director of the Fellows program. "We hadn't heard about that before."

And Rielly liked her point of view. Kahiu's voice is unique on a continent where many of the stories told in film tend to reflect familiar themes of war, poverty and AIDS and that are often funded by aid, grants and foundations, becoming part of an organization's agenda.

Her response is to make films that emphasize fun. She's made films about "Nairobi pop bands that want to go to space or seven-foot robots that fall in love." Her films have been seen in more than a hundred film festivals around the world and they live online as well.

She has her serious side, too, as chair of the SAFE Foundation based in Kenya, which produces films and plays that try and change risky behavior and that connect to issues like HIV, radicalization and female genital mutilation.

But at TED, she focused on the idea that these types of stories limit the view of what Africa is and who Africans are: "We have to tell more stories that are vibrant." And she has given her style of filmmaking a name: Afro bubble gum art.

It's fun, fierce and frivolous African art. First, it's for Africans so that we can see ourselves in a different way because I'm genuinely concerned about how we see ourselves and that we don't think we're worthy of happiness and we postpone joy as if it's a destination. But I feel like we can be happy now.

You got your MFA in film from UCLA, a school that has a reputation for producing independent filmmakers, as opposed to working within a studio system. What's the film industry like in Kenya and how did the emphasis on being indie shape your work?

The film industry is growing. It's still very young but vibrant. I think it needs more access to funding and distribution, but there's definitely a growth of filmmakers in Kenya that is exciting to watch.

The test asks three questions. The first question: Are two or more Africans in this piece healthy? The second question is: Are those Africans, the same healthy Africans, are they financially stable and not in need of saving? And the third question: Are they having fun?

The panel discussion, The Beat Goes On: Afro-Cuban Music and Its Impact on the United States, took place at the Patricia & Philip Frost Art Museum and included presentations by Francis Luca, curator of Turn The Beat Around exhibition on view at The Wolfsonian museum through April 30, 2023; Robin Moore, Professor of Ethnomusicology at the University of Texas, Austin; and Eva Silot-Bravo, Professor of Spanish at The Branson School, Marin County, California. Associate Professor of Anthropology Andrea Queeley at FIU introduced the speakers and moderated the question-and-answer session that followed the talks.

The talks proceeded chronologically, beginning with my own presentation covering the 1930s through the 1950s and focusing on how Hollywood- and Mexican-produced movies helped to promote rumba, conga, Afro-Cuban jazz, mambo, and cha-cha-ch music and dance.

Finally, Professor Silot-Bravo brought us into the present, talking about the importance of timba and reggaeton in the late 1980s and noting the latest musical developments and trends in Cuba and their international impact.

Although Cuba had a robust radio and television broadcasting tradition before the Cuban Revolution of 1959, no more than eighty full-length movies were produced on the island and the fledgling motion picture industry remained dependent on Mexican and Hollywood filmmakers and producers.

Once the lyrics were translated into English its popularity skyrocketed in the United States and the song became one of the all-time greatest hits in Cuban history. It sold well over a million copies and was played, re-arranged, and re-recorded by a wide variety of musicians and orchestras.

Rumba originated as percussion-driven dance of the streets associated with the solares (or slum dwellings) in the poor Afro-Cuban neighborhoods in Havana and Matanzas. Rumbas were often danced in rough-and-tumble taverns and clubs of such barrios.

Had it not been for the popularity of the Cuban dance partners, Ren Rivero Guilln and Ramona Ajn, most Americans might never have seen or recognized the Afro-Cuban origins of son and rumba dance rhythms.

Born in Matanzas, Cuba, at a young age Ren Rivero Guilln moved with his family to the Los Sitios neighborhood in Havana, another port city and urban center that served as the birthplace of rumba and the Abaku religious traditions. There, he grew up listening and dancing to Afro-Cuban music with his sister in the drinking establishment she owned, El Bar de Hilda. The bar was known both for the slower and softer strains of the soneros, whose acoustic instruments encouraged couples to dance more closely together, as well as the more raucous jam sessions of percussion-driven rumberos. The constant (if prohibited) bare-handed drumming drew in scores of local percussionists, including Chano Pozo, while the more than occasional bare-fisted brawls that erupted in the bar also provoked frequent police raids. Pairing up with another Afro-Cuban dancer, Ramona Ajn, Rivero and his new partner adopted the stage names Ren and Estela and took their dance moves to the Century of Progress International Exhibition in Chicago (1933/34).

In 1938, the pair performed a graceful and acrobatic rumba in the Mexican film, Tierra Brava. In the opening musical number, Ren danced while simultaneously balancing a full glass of water on his head as he dipped to the floor and returned to a standing position!

Ironically, after Arnaz and his family fled to the United States some months after the Cuban revolution of 1933, it was his son, Desi Arnaz, who popularized conga line dancing and Afro-Cuban music in their adopted country.

But it was mambo music that enthralled American audience in the late forties and early fifties, with Mexican melodramas and Hollywood musicals again doing their part to popularize this music blending American swing and big band music with Afro-Cuban polyrhythms. Though many Cuban and Puerto Rican musicians and bandleaders in East Harlem contributed to the development of the New York style mambo, it was Prez Prado who did the most to create an international mambo craze.

Finding only limited enthusiasm for his big band music in his hometown of Matanzas, Cuba, Prado moved to Mexico in 1949. There, he signed a contract with the international division of RCA-Victor, developed an upbeat mambo adaptation of the Cuban danzn, and appeared in a dozen or so Rumberas films playing mambo music over the next few years.

This was the golden age of cinema in Mexico. Many film noirs and melodramas were produced and marketed by showing off the beauty and song and dance talents of famous Cuban and Mexican rumberas and sex symbols, such as Ninn Sevilla, Mara Antonieta Pons, and Lilia Prado.

In 1956, the producers responsible for promoting Bill Haley & His Comets in Rock Around the Clock produced another film showcasing the mambo and cha-cha-ch music of Prez Prado. Shot on a low-budget, Cha- Cha- Cha- Boom! was not a box office smash, and besides the great dance music performed by Prado, could be written off as a bust!

During the summer of 2020, the Cinegoga research team initiated the development of this teaching resource focused on the representation of Afro-descendants as portrayed through Latin American cinema and the cultural production of Black media makers in the region. To date, we have added more than 100 Afro-Latin American films to the database, and expanded our thematic tags and subject headings to help users search for films that focus on the diverse and shared experiences of Afro-descendants throughout Latin America. In addition, our research team has created an annotated bibliography of publications by experts in the field that will be useful for educators who are interested in learning more about race, racism, the representation of Afro-descendants, the cultural legacy of the African diaspora in Latin America, and the perspective of Afro-Latin Americans --- through the lens of cinema. Finally, we have provided a curated list of links to online resources related to these topics for further exploration. We recognize that this module is not an exhaustive collection of films and publications, but rather a starting point for educators who are looking to deepen their understanding of the Afro-Latin American experience as represented through film. We welcome your suggestions for additional films, academic publications and other resources related to Afro-Latin American Film & Media. Please send any questions, suggestions or feedback to our team at: cine...@gmail.com

One of the most important elements of a useful database is the selection and accurate deployment of broad subject headings and precise tags that can identify thematic foci of interest to the user. Our examination of approved Library of Congress (LC) Subject Terms, author-supplied keywords, terminology employed in the field of Afro-Latin American Studies, and Spanish-language equivalents revealed a wide variation of subject headings and topics used, currently and historically, to refer to the representations and experiences of Afro-descendants in Latin American cinema. For the purposes of our bilingual film database, we decided on the following broad subject headings. Films categorized under the subject heading "Afro-Latin American / afro latinoamericano" refer to productions with Afro-descendant people on screen; whereas the subject heading "Afro-Latin American productions / Producciones afrolatinoamericanas / Produes afro-latinoamericanas" refers to films with Afro-descendant media makers in front of and behind the camera, in roles such as director, cinematographer, editor, or screenwriter.

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