In this Book

summary

In this interdisciplinary volume, contributors analyze the expression of Latina/o cultural identity through performance. With music theater, dance, visual arts, body art, spoken word, performance activism, fashion, and street theater as points of entry, contributors discuss cultural practices and the fashoning of identity in Latino/a communities throughout the US. Examining the areas of crossover between Latin and American cultures gives new meaning to the notion of "borderlands." This volume features senior scholars and up-and-coming academics from cultural, visual, and performance studies, folklore, and ethnomusicology.

Table of Contents

  1. Cover
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  1. CONTENTS
  2. p. ix
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  1. FOREWORD
  2. p. xiii
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  1. Introduction: Toward a De-Colonial Performatics of the US Latina and Latino Borderlands
  2. pp. 1-28
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  1. ACTO ONE: PERFORMING EMANCIPATION: INNER WORK, PUBLIC ACTS
  2. p. 29
  1. 1 Body as Codex-ized Word / Cuerpo Como Palabra (en-)Códice-ado: Chicana/Indígena and Mexican Transnational Performative Indigeneities
  2. pp. 31-50
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  1. 2 Milongueando Macha Homoerotics: Dancing the Tango, Torta Style (a Performative Testimonio)
  2. pp. 51-57
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  1. 3 The Other Train That Derails Us: Performing Latina Anxiety Disorder in “The Night before Christmas”
  2. pp. 58-72
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  1. 4 The Art of Place: The Work of Diane Gamboa
  2. pp. 73-93
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  1. 5 Human Rights, Conditioned Choices, and Performance in Ana Castillo’s Mixquihuala Letters
  2. pp. 94-106
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  1. 6 Decolonizing Gender Performativity: A Thesis for Emancipation in Early Chicana Feminist Thought (1969–1979)
  2. pp. 107-124
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  1. ACTO TWO: ETHNOGRAPHIES OF PERFORMANCE: THE RÍO GRANDE AND BEYOND
  2. p. 125
  1. 7 Performing Indigeneity in a South Texas Community: Los Matachines de la Santa Cruz
  2. pp. 127-145
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  1. 10 Decolonial Border Queers: Case Studies of Chicana/o Lesbians, Gay Men, and Transgender Folks in El Paso / Juárez
  2. pp. 192-211
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  1. 11 “Te Amo, Te Amo, Te Amo”: Lorenzo Antonio and Sparx Performing Nuevo México Music
  2. pp. 212-234
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  1. 12 Sonic Geographies and Anti-Border Musics: “We Didn’t Cross the Border, the Borders Crossed Us”
  2. pp. 235-257
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  1. 13 Lila Downs’s Borderless Performance: Transculturation and Musical Communication
  2. pp. 258-280
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  1. ACTO THREE: NEPANTLA AESTHETICS IN THE TRANS/NACIONAL
  2. p. 281
  1. 14 El Macho: How the Women of Teatro Luna Became Men
  2. pp. 283-295
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  1. 15 Suturing Las Ramblas to East LA: Transnational Performances of Josefina López’s Real Women Have Curves
  2. pp. 296-308
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  1. 16 Loving Revolution: Same-Sex Marriage and Queer Resistance in Monica Palacios’s Amor y Revolución
  2. pp. 309-327
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  1. 17 Is Ugly Betty a Real Woman? Representations of Chicana Femininity Inscribed as a Site of (Transformative) Difference
  2. pp. 328-343
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  1. 18 Indian Icon, Gay Macho: Felipe Rose of Village People
  2. pp. 344-362
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  1. ACTO FOUR: (DE)CRIMINALIZING BODIES: IRONIES OF PERFORMANCE
  2. p. 363
  1. 19 No Somos Criminales: Crossing Borders in Contemporary Latina and Latino Music
  2. pp. 365-381
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  1. 20 “Pelones y Matones”: Chicano Cholos Perform for a Punitive Audience
  2. pp. 382-401
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  1. 21 Mexica Hip Hop: Male Expressive Culture
  2. pp. 402-418
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  1. 22 The Latino Comedy Project and Border Humor in Performance
  2. pp. 419-436
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  1. 23 (Re)Examining the Latin Lover: Screening Chicano/ Latino Sexualities
  2. pp. 437-456
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  1. 24 Rumba’s Democratic Circle in the Age of Legal Simulacra
  2. pp. 457-476
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  1. LIST OF CONTRIBUTORS
  2. pp. 477-484
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  1. INDEX
  2. pp. 485-504
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Additional Information

ISBN
9780253008770
Related ISBN
9780253002952
MARC Record
OCLC
859673233
Pages
522
Launched on MUSE
2012-10-19
Language
English
Open Access
No
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