Performing Queer Latinidad: Dance, Sexuality, Politics

Notes

213 notes Chapter 1 1. Orgullo en Acción, Facebook post, June 13, 2009. 2. In its usage by organizations like Orgullo en Acción, LGBTQQ stands for lesbian , gay, bisexual, transgender, queer and questioning. 3. See Gina M. Pérez, ἀe Near Northwest Side Story: Migration, Displacement, and Puerto Rican Families (Berkeley: University of California Press, 2004). 4. The steel flags are located at the corners of Division Street and Western Avenue and Division Street and California Street respectively. For a discussion of the use of national performances such as the use of the flag in Puerto Rican struggles against gentrification in Humboldt Park, see Ana Y. Ramos Zayas, National Performances: ἀe Politics of Class, Race, and Space in Puerto Rican Chicago (Chicago: University of Chicago Press, 2003). 5. Orgullo en Acción (Pride in Action) and the Association for Latino Men in Action (ALMA) are Chicago-based organizations dedicated to both social and political Latina/o LGBTQQ community development. For more information on these groups, see http://www.orgulloenaccion.org and http://www.almachicago.org. Amigas Latinas focuses similarly on organizing the Latina lesbian community in the region. For more information see http://www.amigaslatinas.org. 6. On tacit modalities of Latina/o queer sexuality see Carlos Ulises Decena, Tacit Subjects: Belonging and Same-Sex Desire among Dominican Immigrant Men (Durham, NC: Duke University Press, 2011). 7. In my usage throughout this book “inter-Latina/o” refers to actual encounters and exchanges among diverse Latina/o constituencies. “Pan-Latina/o” refers to their resulting collective imaginaries. 8. Micaela di L eonardo, “Introduction: New Global and American Landscapes of Inequality,” in Jane L. Collins, Micaela di Leonardo, and Brett Williams, eds., New Landscapes of Inequality: Neoliberalism and the Erosion of Democracy in America (Santa Fe, NM: School for Advanced Research Press, 2008), 5. 9. David Román, Performance in America: Contemporary U.S. Culture and the Performing Arts (Durham, NC: Duke University Press, 2005), 12. 10. For a theoretical discussion of the engagements with history performance reenactment entails see Rebecca Schneider, Performance Remains: Art and War in Times of ἀe atrical Reenactment (London: Routledge, 2011). 214 notes to pages 9–11 11. On the Stonewall riots and the ensuing repertoires of commemoration see David Carter, Stonewall: ἀ e Riots ἀ at Sparked ἀ e Gay Revolution (New York: St. Martin ’s Press, 2004) and Martin Duberman, Stonewall (New York: Dutton, 1993). 12. The films Zoot Suit (1981),Crossover Dreams (1985), La Bamba (1987), Born in East LA (1987), Stand and Deliver (1988), Salsa (1988), and Lambada (1989) further supported the notion of “Decade of the Hispanic” and helped to launch the Hollywood careers of many Latina/o actors, including Edward James Olmos, Elizabeth Peña, Ruben Blades, Lupe Ontiveros, Andy García, and Raúl Juliá. In art, the 1980s saw major exhibitions of Mexican and Latin American art and the inclusion of U.S. Latina/o artists in mainstream museum exhibitions. Musical acts that gained national attention in the 1980s U.S. popular markets include the Gloria Estefan and Miami Sound Machine, starting with their CBS International debut album Miami Sound Machine in 1980 and Linda Ronstadt’s 1987 album Caciones de mi Padre. Key exhibitions include “Diego Rivera: A Retrospective” (1985) at the Detroit Institute of Arts, “Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors” (1987) at the Houston Museum of Fine Art and the Corcoran Gallery, “Art and Artists in the United States, 1920–1970” (1988) at the Bronx Museum, and “Mexico: Splendors of 30 Centuries,” which opened in 1990 at the Metropolitan Museum of Art in New York. 13. Deborah Paredez has similarly offered a hi storical perspective on the Latin boom by tracing a genealogy of dead Latina icons—from Frida Kahlo to Eva Perón to Selena Quintanilla—upon which the image of Latina/o stardom was developed in the United States. See Deborah Paredez, Selenidad: Selena, Latinos, and the Performance of Memory (Durham, NC: Duke University Press, 2009), 5–13. 14. Toraño commented: “We haven’t had the Vernon Jordans and the Jesse Jacksons . We haven’t had the civil-rights battles. But we are being sensitized. The blacks had the decade of the ’60s; women had the ’70s. The ’80s will be the decade for Hispanics .” “Hispanics Push for Bigger Role In Washington,” U.S. News & World Report, May 22, 1 978, 58. 15. See Katherine Roberts and Richard Levine. “Coors Extends a $300 Million Peace Offering,” New York Times, November...