{"version":"1.0","provider_name":"Encartes","provider_url":"https:\/\/encartes.mx\/en\/","author_name":"Arthur Ventura","author_url":"https:\/\/encartes.mx\/en\/author\/arthur\/","title":"La este\u0301tica de las religiones afrocubanas en la refraccio\u0301n de escenarios trasatla\u0301nticos &#8211; Encartes","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"7lBhe1ufPu\"><a href=\"https:\/\/encartes.mx\/en\/de-canibal-a-diosa\/\">The aesthetics of Afro-Cuban religions in the refraction of transatlantic scenarios<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/encartes.mx\/en\/de-canibal-a-diosa\/embed\/#?secret=7lBhe1ufPu\" width=\"600\" height=\"338\" title=\"&quot;The aesthetics of Afro-Cuban religions in the refraction of transatlantic scenarios&quot; - Encartes\" data-secret=\"7lBhe1ufPu\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n<\/script>","thumbnail_url":"https:\/\/encartes.mx\/wp-content\/uploads\/2017\/12\/imageedit_5_6849874436.jpg","thumbnail_width":739,"thumbnail_height":211,"description":"El presente art\u00edculo muestra la forma en la que la est\u00e9tica de las religiones afroamericanas, en particular la danza y m\u00fasica de la santer\u00eda afrocubana, se inserta como parte de un repertorio gestual, musical y corporal \u201cnegro\u201d que se construye en las interconexiones trasatl\u00e1nticas desde al menos el siglo XIX. Argumento que en este vaiv\u00e9n, los escenarios de las representaciones de dicho repertorio se vuelven una plataforma que cobra un car\u00e1cter \u201crefractivo\u201d (Grau, 2005), es decir, que descomponen una idea de lo \u201cnegro\u201d en m\u00faltiples referentes simb\u00f3licos e interpretativos que pueden ser incluso opuestos."}