IDENTIDADES 1 ENGLISH IDENTIDADES 8 ENGLISH | Page 54

She was the protagonist of the motion picture El grito sagrado (Luis César Amadori,
1954) and also played roles in:
 The comedy Sangre negra (Richard Wright and Paul Green, 1945), under the
artistic direction of Narciso Ibáñez Menta, at The National Theater
 The comedy Mi querida Ruth (Norman Krasna, 1946), directed by Antonio
Cunill Cabanellas, at the Empire Theatre (1946)
 The musical comedy En un viejo patio porteño (1950), created and directed by
Enrique Telemaco Susini, at The Ariel Theatre
 The popular heroic play Pasión y muerte de Silverio Leguizamón (Bernardo
Canal Feijóo, 1983), under the artistic direction of José María Paolantonio, in
the Municipal Theater General San Martín
In parallel with her start as film actress,
she began her singing career, firstly as
an amateur and then as professional.
She studied with Italian opera singer
Maria Naftri and cultivated jazz, tango
and melodic and tropical music. His
presentation circuits were linked to the
nightlife in Buenos Aires by that time:
café-concerts, confectioneries, boîtes,
theaters, clubs, American bars, live
performances during film intervals, and
occasionally, cabarets. As it was
becoming popular, she worked on TV
as a singer and dancer. She performed at
several venues in the province of
Buenos Aires and others of the
country’s interior: Chubut, Córdoba,
Mendoza, Neuquén, Salta, San Juan,
Santa Fe and Tucumán. He also
performed abroad in scenarios of
Montevideo (1957 and 1976), Santiago
de Chile (1957, 1959 and 1963), Lima
(1964), Porto Alegre and Sao Paulo
(1973). She recorded three 78 rpm
records in Buenos Aires with Bernardo
Noriega and his Grand Orchestra (Opus
1955), Carlos Garcia and his Orchestra
(RCA Victor, 1960), and Pagua and his
Band Set (RCA Victor, 1961). Her CD
Tangos de piel morena (2003) includes
seven plays accompanied on the piano
by John Pugliano. After retiring from
the show business, in the middle of the
year 1989, she was admitted as resident
at Casa del Teatro, where she lived until
late 2012. Then she was transferred to

the Geriatric Center Avellaneda
(Province of Buenos Aires), where he
died on June 25, 2013.
Sociocultural context
Among other denominations, the AfroArgentinians in Buenos Aires call
themselves "class" or "race" in order to
differentiate themselves from the white
people, dubbed as chongos. According
to the social, cultural and economic
levels (not necessarily taken together),
there are internal differences that
generate at least two categories: "negro
usted" and "negro che". The former are
the
minority
enjoying
some
achievements at the cost of having
ignored its African identity by studying
and working in the same labor and
intellectual areas where whites are
promoted. The others are the majority
belonging to medium-low and low
social classes, with little or no education
and workin