By Arturo J. Aldama, Visit Amazon's Chela Sandoval Page, search results, Learn about Author Central, Chela Sandoval, , Peter J. García
In this interdisciplinary quantity, members examine the expression of Latina/o cultural identification via functionality. With song, theater, dance, visible arts, physique artwork, spoken be aware, functionality activism, style, and road theater as issues of access, members speak about cultural practices and the fashoning of id in Latino/a groups in the course of the US. reading the parts of crossover among Latin and American cultures supplies new aspiring to the proposal of "borderlands." This quantity good points senior students and up-and-coming lecturers from cultural, visible, and function experiences, folklore, and ethnomusicology.
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Extra info for Performing the US Latina and Latino Borderlands
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22 · C h e l a S a n d ova l , A rt u ro J. A l da m a , a n d P e t e r J. G a rc í a 8. On food, language, dance, musics, clothing, language, religions, styles, and identities, the phenomenology-influenced anthropological work of Richard Baumann and Charles Briggs is formative. Their work on de-contextualizing the epistemics of performativity from a Eurocentric analytic frame and re-contextualizing performativity to non-western generative spaces was useful in thinking of the philosophical stakes of de-colonial performatics.
The time lag between the colonial and postcolonial can be conceptualized as the de-colonial imaginary. [Homi] Bhabha names that interstitial gap between the modern and postmodern, the colonial and the postcolonial, a time lag. This is precisely where Chicana/o history finds itself today, in a time lag between the colonial and the postcolonial. (1999, 6) It is this “in-between” state and its de-colonial possibilities in which we are most interested. The Nahuatl word nepantla signifies an in-between world of possibility.
4 While Franco, Taylor, and Costantino discuss how Rodríguez’s performances function in these critiques of the Mexican nation-state, I am invested in a transnational analysis that interrogates how class and sexuality function in the work of this highly controversial Mexico City–based artist. In Celia Herrera-Rodríguez’s performance work, she offers generative mandates for this transnational framework, expanding its focus to a hemispheric exploration of Indigeneity while negotiating her subject position as a Chicana/Tepehuana living and teaching visual art practices in Oakland, California.