{"product_id":"12155","title":"1964 Archive of Post-Revolutionary Cuban Television Dance Photographs Featuring Emilia “La China” Villamil and Raymond Iglesias from Canal 6 Cubavisión","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eOn offer is a cohesive series of six original 1964 Cuban television dance photographs showing Emilia Villamil and Raymond (Ramon) Iglesias in a staged dance sequence for a television show broadcast on Canal 6,\u003c\/span\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003ethe Havana television channel associated with Cubavisión. The photographs appear to be publicity stills, and all belong to the same production series and bears the professional studio\/lab stamp \u003cem\u003e“OLIVIA FOTOS 9.1833”\u003c\/em\u003e on the verso. Also the verso of some of the photos are handwritten notes that provide information about the dancers, TV channel, and year.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe six prints provide a visual sequence from a Cuban television dance production and appear to be publicity stills. Villamil and Iglesias were Tropicana-era Cuban performers, here seen performing in a post-Revolution broadcast studio, bridging Havana’s pre-Revolution cabaret and theatrical culture with the new television environment of the 1960s. Cubavisión’s institutional history traces its origins to CMQ-TV, Channel 6.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eVillamil and Iglesias were both established Cuban performers, with roots in the mid-century Havana entertainment world of Tropicana. Villamil was often referred to as \u003cem\u003e“La China” \u003c\/em\u003eand is sometimes known as \u003cem\u003e“China Villamil”.\u003c\/em\u003e An \u003c\/span\u003e\u003cspan\u003eEl Nuevo Herald\u003c\/span\u003e\u003cspan\u003e profile of her son, television journalist Camilo Egaña, identifies her as \u003c\/span\u003e\u003cem\u003e“la bailarina Emilia Villamil, fundadora de la televisión cubana” \u003c\/em\u003e\u003cspan\u003e[“the dancer Emilia Villamil, founder\/pioneer of Cuban television”].\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eA 1979 \u003c\/span\u003e\u003cspan\u003eSan Antonio Express-News\u003c\/span\u003e\u003cspan\u003e profile identifies Raymond Iglesias as a Cuban refugee and former Havana \u003c\/span\u003e\u003cem\u003e“dancer-choreographer-singer” \u003c\/em\u003e\u003cspan\u003ewho later became a fashion designer. The article explains that his given name was Ramon, but that he used and preferred Raymond, a useful clarification for the present group because one verso notation gives his first name as \u003cem\u003e“Ramon.”\u003c\/em\u003e The same profile records that, as a youth in Havana, he studied dance with Alicia Alonso Ballet, performed internationally with partner Elena del Cueto under the billing “Clarissa and Raymond,” and toured as a dancer for ten years.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThis is a valuable survival from a comparatively under-documented area of Cuban cultural history: the movement of established theatrical, cabaret, and dance performers into early post-Revolution television. Original production stills from this period are not commonly encountered in coherent, identified groups. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eCondition is good overall, with expected light handling wear, minor edge and corner wear, and typical surface signs from age and use. The images remain strong, with good contrast and clear detail. Verso stamps and notations are present as described. Overall Very Good.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eNotes on Canal 6 (CMQ-TV, Cubavisión)\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eFollowing the nationalization of Cuban broadcasting in 1960, the former commercial station \u003c\/span\u003e\u003cspan\u003eCanal 6\u003c\/span\u003e\u003cspan\u003e (CMQ-TV) was incorporated into the state system and became the principal outlet of what was increasingly identified as \u003c\/span\u003e\u003cspan\u003eCubavisión\u003c\/span\u003e\u003cspan\u003e, the national television service centered in Havana. Contemporary scholarship and broadcast histories note that early 1960s programming on Canal 6\/Cubavisión retained a strong continuity with pre-Revolution formats—particularly live studio variety, music, and dance—while being reorganized under state cultural policy (Rivero, 2015; Chanan, 2004). Surviving program references from the period include musical and variety broadcasts such as \u003c\/span\u003e\u003cspan\u003eRitmos de Cuba\u003c\/span\u003e\u003cspan\u003e (a recurring dance-music revue format), dramatized literary and theatrical adaptations, newsreel-style current affairs segments, and children’s programming blocks, all of which formed the backbone of early revolutionary television scheduling (Rivero, 2015; Chanan, 2004; Pérez Jr., 1995).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan style=\"text-decoration: underline;\"\u003e\u003cstrong\u003eSources\u003c\/strong\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eArias-Polo, Arturo. “Camilo Egaña recupera su nombre con Mega TV.” \u003c\/span\u003e\u003cspan\u003eEl Nuevo Herald\u003c\/span\u003e\u003cspan\u003e (Miami, Florida), August 31, 2006, p. 43.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRedondo Rodríguez, Manuel. “La verdadera historia de Tropicana (VII).” \u003c\/span\u003e\u003cspan\u003eArte por Excelencias\u003c\/span\u003e\u003cspan\u003e, August 20, 2015. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRivero, Y. M. (2015). \u003c\/span\u003e\u003cspan\u003eBroadcasting Modernity: Cuban Commercial Television, 1950–1960\u003c\/span\u003e\u003cspan\u003e. Duke University Press.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eRoberts, Lynn Lair. “Designer has flare for dramatic.” \u003c\/span\u003e\u003cspan\u003eSan Antonio Express-News\u003c\/span\u003e\u003cspan\u003e (San Antonio, Texas), April 14, 1979, pp. 49, 51.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e \u003c\/p\u003e","brand":"Katz Fine Manuscripts","offers":[{"title":"Default Title","offer_id":51116257476914,"sku":"12155","price":585.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0617\/8612\/8618\/files\/0012155_1.png?v=1777588393","url":"https:\/\/katzfinemanuscripts.com\/products\/12155","provider":"Katz Fine Manuscripts","version":"1.0","type":"link"}