This article analyzes the survival of bufo (farcical or comic) theater dramatic mechanisms in Miami television programming, specifically on channel América TV. It discusses the stereotype of the repartero as a part of the popular culture in Cuba after the Cold War, and his representation in Miami cultural production. Additionally, the essay examines the gender imaginary associated with political satire and the re-significations emanating from popular music in the context of humorous parodies pertaining to diplomatic negotiations between the governments of Cuba and the United States.
INSTITUTO FRANKLIN - UAH