Table of Contents

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. Mexica Hip Hop: Male Expressive Culture Pancho McFarland
22. The Latino Comedy Project and Border Humor in Performance Jennifer Alvarez Dickinson
23. (Re)Examining the Latin Lover: Screening Chicano/Latino Sexualities Daniel Enrique Pérez
24. Rumba's Democratic Circle in the Age of Legal Simulacra Berta Jottar-Palenzuela

List of Contributors
Index

Promotional Information

Culture as performance in Latina/o communities in the US

About the Author

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.

Reviews

Performing the US Latina and Latino Borderlands is a vital addition to the growing body of scholarship focused on the ''performatics'' of border-crossers, bordernatives, and border-inhabitants as necessary sources of knowledge.
*Latino Studies*

I would recommend this book for scholars interested in learning about diverse ways that marginalized populations seize the tools of performance and alter them to shift the story. . . Each chapter contains enough cultural context for scholars unfamiliar with Latina/o Studies and enough entertaining performance for everyone.
*Text and Presentation*