Focusing on works that served as social commentary on race, gender, and the disparity of the position of blacks in both Latin America and the United States, Cosme was recognized as a master of her craft.

She performed with both Marian Anderson and Langston Hughes, and brought the works of African-American poets to Hispanic audiences via The Eusebia Cosme Show, which aired on CBS Radio from 1943 to 1945.

She first played this character, from Felix B. Caignet's radio drama El Derecho de nacer (The Right of Birth), in a 1955 stage performance in New York City.

The archive has become an important resource for academics studying race, gender and social perception of not only Afro-Cubans in her era but also within the wider community of the African diaspora.

[9] Garbalosa encouraged Cosme to develop her individuality and embrace her African roots to distance herself from her white peers[9] by vocalizing and expressing her own cultural background.

[12] Through the use of popular dialect and by creating elaborate interpretative routines, with vivid backdrops, props, and flamboyant costumes, Cosme recreated scenes using exaggerated gestures to convey the emotion of the poetry.

She also used a typical costume of rumba dancers, a dress featuring a tightly fitted bodice with a deeply ruffled skirt, to set the scene for more rhythmic, celebratory poems.

[14] Cosme was trained in the tradition of poseía negra,[15] a specific type of recitation of poetry which is tied to the African experience, with particular attention to the irony of blacks' peculiar societal position in the wake of slavery.

[20] In her first major speaking engagement in Havana on 16 March 1933, Cosme recited a tribute to the Spanish actor, José González Marín [es] at the Payret Theater.

[2][21] She went on to perform in August at the Principal de la Comedia earning praise from Chic Magazine, which dubbed her "the greatest artistic attraction" that month in the capital.

[21] In 1935, she returned to the Principal de la Comedia reciting works by Emilio Ballagas, Regino Boti, Félix B. Caignet, Nicolás Guillén, Luis Palés Matos, and José Antonio Portuondo, among others.

[21] A featured article on Cosme in the November 1935 issue of Adelante described her as "black emotion, voice and rhythm, harmoniously vibrating in the flesh and grace of woman".

[2] At the end of the year, when she returned to Cuba, Cosme was honored by the city of her birth in a celebration where she was granted the title Hija Predilecta (Favorite Daughter) of Santiago.

She appeared in 18 performances over the month and made trips to study Afro-Puerto Rican culture in Loíza Aldea and Machuchal, areas known for their African traditions.

[3] Cosme focused on themes in her repertoire that spanned the experiences of Afro-Antilleans, from celebrations of culture to suffering and struggling to survive, as well as exploring the stereotypical fears mainstream society had of blacks.

Latin American publications categorized her as Afro-Latina; mainstream media in the United States and Europe depicted her as an exotic, tropical personality; while the African-American community saw in her the broad historical connections of the diaspora.

[34] Her space was unique, as comparison between her and Ethel Barrymore, and other prominent white actresses in both American and Cuban entertainment, failed to recognize that they were not allowed to perform in the same spheres.

[35] As a mulatta and Latina, Cosme could and did perform in cosmopolitan venues featuring her international appeal as a Latin American; similar spaces would not have been open to "Negro", African-American artists.

Comparisons were made between opera and her recitations, showing that her mastery of gestures, facial expressions, and rhythm conveyed the message of the performance making words unnecessary.

[37][12] In 1940, she appeared at Northwestern University in a program sponsored by the Institute of Spain in the United States and soon after the performance went to Mexico City to be presented at the Palacio de Bellas Artes.

[36] She composed the song Fue en el África (It Happened in Africa),[38] which was recorded by RCA Victor featuring Ernesto Roca later that year.

[38] She had return engagements at Howard University in 1944 and 1946 and at The Town Hall in 1945, where she recited poems by Jesús Colón and Alberto Socarrás in honor of Antonio Maceo's hundredth birthday.

In September 1955, she was cast as "Mamá Dolores"[41] in a stage production of Félix B. Caignet's radio drama El Derecho de nacer (The Right of Birth), which played at the Teatro Santurce,[21] located at 1421 5th Avenue, near 116th Street.

[21] In 1968, Cosme appeared in another TSM telenovela Tres vidas distintas (Three Distinct Lives), under the direction of Carlos Salinas[3][21] and the following year, she starred in Rosas blancas para mi hermana negra (White Roses for My Black Sister) with Libertad Lamarque.

A prominent American actor paid for her to have nursing care and eventually arranged for her relocation[53] to the Miami Convalescent Home in South Florida in early 1974.