Please read Bruno - Yo la bomba no la bail la bomba yo la viv I Didnt Just Dance Bomba Page 93-106 Please state the main point the author is trying to make the reader understand key point/key takeaway main idea brief detailed summary the cultures etc…. 3:55il la bomba yo la viv I DidrANSFORMING ANTHROPOLOGYRESEARCH ARTICLE"YO LA BOMBA NO LA BAILÉ, LA BOMBA YO LA VIVE"(I DIDN'T JUST DANCE BOMBA, I LIVED IT):THE PEDAGOGY OF DAILY PUERTO RICAN LIFE, BLACKFEMINIST PRAXIS, AND THE BATEYSarah BrunoAbstractAfter Hurricane Maria had passed, Puerto Ricofound itself in the eye of a media whirlwind due togovernmental scandal and earthquakes; still, bom-beras (women bomba practitioners) would continueorganizing. This article examines how in the wake ofcatastrophe, and since its inception on sugar planta-tions in Puerto Rico, bombeando (practicing bomba)offers individual healing and prompts the mobilizationof Afro-Puerto Ricans on the island and in the States.Bomba is thus a system of mutual relief, which offersa model of structural repair. I examine how bomberapedagogy is more than something to be applied to agenre of music and dance but a lifestyle and practicethat acknowledges, repurposes, and releases wreckageof the embodied experience of colonial trauma.Drawing on practices of care in the Black feministtradition, I deploy ethnography to render how bombaallows scholars to collectively reimagine and addressinterpersonal and infrastructural violence. [Black fem-inism, affect, dance, Afro-Latinidad, Puerto Rico]She won't remember the routine wreckage sheused to walk through barefoot here. She sandsit out.-Alexis Pauline Gumbs, SpillI came to Puerto Rico to study the role ofbomba among Afro-Puerto Rican women in thewake of Hurricane Maria.' At the start of my timein the field, the historic protests that would result inthe ousting of the former Puerto Rican governorRicardo Rosselló happened. Then a state of alert-ness was issued due to the high rates of gender-based violence happening across the island. Thenthe earthquakes along Puerto Rico's southerncoast continued to cause anxiety in a society thatremembers the trauma of Hurricane Maria nowmore than ever. Finally, as COVID-19 changes howpeople come together and sustain culturally rele-vant practices across the world, bomberas arenavigating how the batey, or dance circle, spreadsacross oceans and in the age of social distancing.Through it all, I have seen figuras remain constantin ensuring that the batey continues to be a sacredground rich with memory and creativity forbomberas, despite how it adjusts to the constantchaos and catastrophe that seem to have followed.since the conquistadors arrived. Figuras are notonly movements within the dance circle or bateybut also bomberas who have taught me and count-less others how to move within the batey andthroughout our everyday lives. Figuras are politi-cal actors whose embodied historical legacies areacted out in the ways in which they continue tolive in the inheritance of Black femme freedomand care. Their corrective care is demonstratednot only for one another on an intimate interper-sonal level but also through extension of their careto correct governmental agencies on an infrastruc-tural level.With the intention of welding Puerto Rico topractices of Blackness within a Black studies perspec-tive, I offer figuras to mediate through current ten-sions happening in contemporary discourse. JoséLuis González (1989) states that the first realPuerto Ricans were the ones who practiced bomba-that they were Black. I follow González's redi-rection and center bomba, and consequentlyPuerto Rico, within Black intellectual genealogyTransforming Anthropology, Vol. 30, Number 2, pp. 93-106, ISSN 1051-0559, electronic ISSN 1548-7466, © 2022 AmericanAnthropological Association.DOI: 10.1111/traa 12242.and geography. My bomba teachers and eldershave taught me not only how to move within thebatey but also how to navigate life as a colonialsubject when the drum stops playing. Before recentdecades, women in bomba were largely ornamental(Maldonado 2019). In this article, I draw on thework of my figuras as part of my Black feministhorizon. Figuras are (1) my elders and those whohold me accountable and (2) the various postures Imake in the batey to be intelligible to the principaldrummer. The figuras Melanie and Julie demon-strate how bomba attends to both individual andinfrastructural recovery. They force us to ask:What is the difference between healing and repara-tions? What are the stakes under each? I thenexamine Diasporic Rican figuras Ivelisse, Alyssa,and Julie, who practice bomba in order to reinvigo-rate their dispersed or displaced condition. Diaspo-ric figuras use bomba as a way to circumventgovernment-sponsored relief systems and provideaid to those in need. They allow us to ask: Howdoes bomba become a balm for destierro (exile ordispossession) and also a salve for imperial neglect?These Afro-Puerto Rican woman figuras demon-strate what I call "emotional dexterity" and recon-figure the impact of colonialism and destierrothrough bomba practices Emotional dexteritypoints to the flexibility required or BLACK PORTIOBlack feminist practical application to rectify thedeficiencies that are noted."I met Melanie by a very popular quiosco(kiosk) called El Boricua in Piñones. We discussedmy interest in bomba and my graduate programover plantain fritters and beer. She told me abouther own time in a graduate program. Her eyes sawpast my anxiety and shone with the passion shelives her life with. Her curly hair blew in the seabreeze as we walked to El Ancon, where the bom-bazo would be taking place. She was excited thatsomeone else was taking up scholarly interest inbomberas, past and present. But more than any-thing Melanie felt familiar. It wasn't until I wasthe first volunteer for the acupuncture therapy onthe side of the road, when I said, "this is my first-time g." that she confirmed she was also a ChiRican, or a Puerto Rican from Chicago. It wasone of several moments we shared on that verylong and impactful day that cemented our sister-ship. Loiza's bombazo was beautiful. People of allages came out and participated in watching thecapoeira Angola and dancing and singing in thebombazo. Afterward, Melanie invited me toanother baile de bomba (a birthday party). I wasenthusiastically down to go. She even offered todrive me to my arandparents' house so I couldchange and go with her. She made sure I was safe80Check for updates

Question

Please read Bruno - Yo la bomba no la bail la bomba yo la viv I Didnt Just Dance Bomba Page 93-106 Please state the main point the author is trying to make the reader understand key point/key takeaway main idea brief detailed summary the cultures etc…. 3:55il la bomba yo la viv I DidrANSFORMING ANTHROPOLOGYRESEARCH ARTICLE&#34;YO LA BOMBA NO LA BAILÉ, LA BOMBA YO LA VIVE&#34;(I DIDN'T JUST DANCE BOMBA, I LIVED IT):THE PEDAGOGY OF DAILY PUERTO RICAN LIFE, BLACKFEMINIST PRAXIS, AND THE BATEYSarah BrunoAbstractAfter Hurricane Maria had passed, Puerto Ricofound itself in the eye of a media whirlwind due togovernmental scandal and earthquakes; still, bom-beras (women bomba practitioners) would continueorganizing. This article examines how in the wake ofcatastrophe, and since its inception on sugar planta-tions in Puerto Rico, bombeando (practicing bomba)offers individual healing and prompts the mobilizationof Afro-Puerto Ricans on the island and in the States.Bomba is thus a system of mutual relief, which offersa model of structural repair. I examine how bomberapedagogy is more than something to be applied to agenre of music and dance but a lifestyle and practicethat acknowledges, repurposes, and releases wreckageof the embodied experience of colonial trauma.Drawing on practices of care in the Black feministtradition, I deploy ethnography to render how bombaallows scholars to collectively reimagine and addressinterpersonal and infrastructural violence. [Black fem-inism, affect, dance, Afro-Latinidad, Puerto Rico]She won't remember the routine wreckage sheused to walk through barefoot here. She sandsit out.-Alexis Pauline Gumbs, SpillI came to Puerto Rico to study the role ofbomba among Afro-Puerto Rican women in thewake of Hurricane Maria.' At the start of my timein the field, the historic protests that would result inthe ousting of the former Puerto Rican governorRicardo Rosselló happened. Then a state of alert-ness was issued due to the high rates of gender-based violence happening across the island. Thenthe earthquakes along Puerto Rico's southerncoast continued to cause anxiety in a society thatremembers the trauma of Hurricane Maria nowmore than ever. Finally, as COVID-19 changes howpeople come together and sustain culturally rele-vant practices across the world, bomberas arenavigating how the batey, or dance circle, spreadsacross oceans and in the age of social distancing.Through it all, I have seen figuras remain constantin ensuring that the batey continues to be a sacredground rich with memory and creativity forbomberas, despite how it adjusts to the constantchaos and catastrophe that seem to have followed.since the conquistadors arrived. Figuras are notonly movements within the dance circle or bateybut also bomberas who have taught me and count-less others how to move within the batey andthroughout our everyday lives. Figuras are politi-cal actors whose embodied historical legacies areacted out in the ways in which they continue tolive in the inheritance of Black femme freedomand care. Their corrective care is demonstratednot only for one another on an intimate interper-sonal level but also through extension of their careto correct governmental agencies on an infrastruc-tural level.With the intention of welding Puerto Rico topractices of Blackness within a Black studies perspec-tive, I offer figuras to mediate through current ten-sions happening in contemporary discourse. JoséLuis González (1989) states that the first realPuerto Ricans were the ones who practiced bomba-that they were Black. I follow González's redi-rection and center bomba, and consequentlyPuerto Rico, within Black intellectual genealogyTransforming Anthropology, Vol. 30, Number 2, pp. 93-106, ISSN 1051-0559, electronic ISSN 1548-7466, © 2022 AmericanAnthropological Association.DOI: 10.1111/traa 12242.and geography. My bomba teachers and eldershave taught me not only how to move within thebatey but also how to navigate life as a colonialsubject when the drum stops playing. Before recentdecades, women in bomba were largely ornamental(Maldonado 2019). In this article, I draw on thework of my figuras as part of my Black feministhorizon. Figuras are (1) my elders and those whohold me accountable and (2) the various postures Imake in the batey to be intelligible to the principaldrummer. The figuras Melanie and Julie demon-strate how bomba attends to both individual andinfrastructural recovery. They force us to ask:What is the difference between healing and repara-tions? What are the stakes under each? I thenexamine Diasporic Rican figuras Ivelisse, Alyssa,and Julie, who practice bomba in order to reinvigo-rate their dispersed or displaced condition. Diaspo-ric figuras use bomba as a way to circumventgovernment-sponsored relief systems and provideaid to those in need. They allow us to ask: Howdoes bomba become a balm for destierro (exile ordispossession) and also a salve for imperial neglect?These Afro-Puerto Rican woman figuras demon-strate what I call &#34;emotional dexterity&#34; and recon-figure the impact of colonialism and destierrothrough bomba practices Emotional dexteritypoints to the flexibility required or BLACK PORTIOBlack feminist practical application to rectify thedeficiencies that are noted.&#34;I met Melanie by a very popular quiosco(kiosk) called El Boricua in Piñones. We discussedmy interest in bomba and my graduate programover plantain fritters and beer. She told me abouther own time in a graduate program. Her eyes sawpast my anxiety and shone with the passion shelives her life with. Her curly hair blew in the seabreeze as we walked to El Ancon, where the bom-bazo would be taking place. She was excited thatsomeone else was taking up scholarly interest inbomberas, past and present. But more than any-thing Melanie felt familiar. It wasn't until I wasthe first volunteer for the acupuncture therapy onthe side of the road, when I said, &#34;this is my first-time g.&#34; that she confirmed she was also a ChiRican, or a Puerto Rican from Chicago. It wasone of several moments we shared on that verylong and impactful day that cemented our sister-ship. Loiza's bombazo was beautiful. People of allages came out and participated in watching thecapoeira Angola and dancing and singing in thebombazo. Afterward, Melanie invited me toanother baile de bomba (a birthday party). I wasenthusiastically down to go. She even offered todrive me to my arandparents' house so I couldchange and go with her. She made sure I was safe80Check for updates

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