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Informationen zum Autor Arturo J. Aldama is Associate Professor of Latino and Ethnic Studies, University of Colorado at Boulder. Chela Sandoval is former Chair and Associate Professor of Critical Theory in the Department of Chicana and Chicano Studies at University of California, Santa Barbara. Peter J. García is Associate Professor of Chicana/o Studies and Musics at California State University, Northridge. Klappentext Arturo J. Aldama is Associate Professor of Latino and Ethnic Studies, University of Colorado at Boulder.Chela Sandoval is former Chair and Associate Professor of Critical Theory in the Department of Chicana and Chicano Studies at University of California, Santa Barbara.Peter J. Garc¿is Associate Professor of Chicana/o Studies and Musics at California State University, Northridge. Zusammenfassung Analyzes the expression of Latina/o cultural identity through performance Inhaltsverzeichnis Foreword \ Alicia Gaspar de Alba Introduction: Toward a De-Colonial Performatics of the US Latina and Latino Borderlands \ Chela Sandoval, Arturo J. Aldama, and Peter J. García ACTO 1. Performing Emancipation: Inner Work, Public Acts 1. Body as Codex-ized Word / Cuerpo Como Palabra (en-)Códice-ado: Chicana/Indígena and Mexican Transnational Performative Indigeneities \ Micaela Díaz-Sánchez 2. Milongueando Macha Homoerotics: Dancing the Tango, Torta Style (a Performative Testimonio) \ Maria Lugones 3. The Other Train That Derails Us: Performing Latina Anxiety Disorder in "The Night before Christmas" \ Angie Chabram-Dernersesian 4. The Art of Place: The Work of Diane Gamboa \ Karen Mary Davalos 5. Human Rights, Conditioned Choices, and Performance in Ana Castillo's Mixquihuala Letters \ Carl Gutiérrez-Jones 6. Decolonizing Gender Performativity: A Thesis for Emancipation in Early Chicana Feminist Thought (1969-1979) \ Daphne V. Taylor-García ACTO 2. Ethnographies of Performance: The Río Grande and Beyond 7. Performing Indigeneity in a South Texas Community: Los Matachines de la Santa Cruz \ Norma E. Cantú 8. Re-Membering Chelo Silva: The Bolero in Chicana Perspective (Women's Bodies and Voices in Postrevolutionary Urbanization: The Bohemian, Urban, and Transnational) \ Yolanda Broyles-González 9. Roland Barthes, Mojado, in Brownface: Chisme-laced Snapshots Documenting the Preposterous and Fact-laced Claim That the Postmodern Was Born along the Borders of the Río Grande River \ William Anthony Nericcio 10. Decolonial Border Queers: Case Studies of Chicana/o Lesbians, Gay Men, and Transgender Folks in El Paso / Juárez \ Emma Pérez 11 "Te Amo, Te Amo, Te Amo": Lorenzo Antonio and Sparx Performing Nuevo México Music \ Peter J. García 12. Sonic Geographies and Anti-Border Musics: "We Didn't Cross the Border, the Borders Crossed Us" \ Roberto D. Hernández 13. Lila Downs's Borderless Performance: Transculturation and Musical Communication \ Brenda M. Romero ACTO 3. Nepantla Aesthetics in the Trans/Nacional 14. El Macho: How the Women of Teatro Luna Became Men \ Paloma Martínez-Cruz and Liza Ann Acosta 15. Suturing Las Ramblas to East LA: Transnational Performances of Josefina López's Real Women Have Curves \ Tiffany Ana López 16. Loving Revolution: Same-Sex Marriage and Queer Resistance in Monica Palacios's Amor y Revolución \ Marivel T. Danielson 17. Is Ugly Betty a Real Woman? Representations of Chicana Femininity Inscribed as a Site of (Transformative) Difference \ Jennifer Esposito 18. Indian Icon, Gay Macho: Felipe Rose of Village People \ Gabriel S. Estrada ACTO 4. (De)Criminalizing Bodies: Ironies of Performance 19. No Somos Criminales: Crossing Borders in Contemporary Latina and Latino Music \ Arturo J. Aldama 20. "Pelones y Matones": Chicano Cholos Perform for a Punitive Audience \ Victor M. Rios and Patrick Lopez-Aguado 21. Mexi...
