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Staging an important new conversation between performers and
critics, Blacktino Queer Performance approaches the interrelations
of blackness and Latinidad through a stimulating mix of theory and
art. The collection contains nine performance scripts by
established and emerging black and Latina/o queer playwrights and
performance artists, each accompanied by an interview and critical
essay conducted or written by leading scholars of black, Latina/o,
and queer expressive practices. As the volume's framing device,
"blacktino" grounds the specificities of black and brown social and
political relations while allowing the contributors to maintain the
goals of queer-of-color critique. Whether interrogating
constructions of Latino masculinity, theorizing the black queer
male experience, or examining black lesbian relationships, the
contributors present blacktino queer performance as an artistic,
critical, political, and collaborative practice. These scripts,
interviews, and essays not only accentuate the value of blacktino
as a reading device; they radiate the possibilities for thinking
through the concepts of blacktino, queer, and performance across
several disciplines. Blacktino Queer Performance reveals the
inevitable flirtations, frictions, and seductions that mark the
contours of any ethnoracial love affair. Contributors. Jossiana
Arroyo, Marlon M. Bailey, Pamela Booker, Sharon Bridgforth,
Jennifer Devere Brody, Cedric Brown, Bernadette Marie Calafell,
Javier Cardona, E. Patrick Johnson, Omi Osun Joni L. Jones, John
Keene, Lawrence La Fountain-Stokes, D. Soyini Madison, Jeffrey Q.
McCune Jr., Andreea Micu, Charles I. Nero, Tavia Nyong'o, Paul
Outlaw, Coya Paz, Charles Rice-Gonzalez, Sandra L. Richards, Matt
Richardson, Ramon H. Rivera-Servera, Celiany Rivera-Velazquez,
Tamara Roberts, Lisa B. Thompson, Beliza Torres Narvaez, Patricia
Ybarra, Vershawn Ashanti Young
Latina/o/x places exist as both tangible physical phenomena and
gatherings created and maintained by creative cultural practices.
In this collection, an interdisciplinary group of contributors
critically examines the many ways that varied Latina/o/x
communities cohere through cultural expression. Authors consider
how our embodied experiences of place, together with our histories
and knowledge, inform our imagination and reimagination of our
surroundings in acts of placemaking. This placemaking often
considers environmental sustainability as it helps to sustain
communities in the face of xenophobia and racism through cultural
expression ranging from festivals to zines to sanctuary movements.
It emerges not only in specific locations but as movement within
and between sites; not only as part of a built environment, but
also as an aesthetic practice; and not only because of efforts by
cultural, political, and institutional leaders, but through mass
media and countless human interactions. A rare and crucial
perspective on Latina/o/x people in the Midwest, Building
Sustainable Worlds reveals how expressive culture contributes to,
and sustains, a sense of place in an uncertain era.
Staging an important new conversation between performers and
critics, Blacktino Queer Performance approaches the interrelations
of blackness and Latinidad through a stimulating mix of theory and
art. The collection contains nine performance scripts by
established and emerging black and Latina/o queer playwrights and
performance artists, each accompanied by an interview and critical
essay conducted or written by leading scholars of black, Latina/o,
and queer expressive practices. As the volume's framing device,
"blacktino" grounds the specificities of black and brown social and
political relations while allowing the contributors to maintain the
goals of queer-of-color critique. Whether interrogating
constructions of Latino masculinity, theorizing the black queer
male experience, or examining black lesbian relationships, the
contributors present blacktino queer performance as an artistic,
critical, political, and collaborative practice. These scripts,
interviews, and essays not only accentuate the value of blacktino
as a reading device; they radiate the possibilities for thinking
through the concepts of blacktino, queer, and performance across
several disciplines. Blacktino Queer Performance reveals the
inevitable flirtations, frictions, and seductions that mark the
contours of any ethnoracial love affair. Contributors. Jossiana
Arroyo, Marlon M. Bailey, Pamela Booker, Sharon Bridgforth,
Jennifer Devere Brody, Cedric Brown, Bernadette Marie Calafell,
Javier Cardona, E. Patrick Johnson, Omi Osun Joni L. Jones, John
Keene, Lawrence La Fountain-Stokes, D. Soyini Madison, Jeffrey Q.
McCune Jr., Andreea Micu, Charles I. Nero, Tavia Nyong'o, Paul
Outlaw, Coya Paz, Charles Rice-Gonzalez, Sandra L. Richards, Matt
Richardson, Ramon H. Rivera-Servera, Celiany Rivera-Velazquez,
Tamara Roberts, Lisa B. Thompson, Beliza Torres Narvaez, Patricia
Ybarra, Vershawn Ashanti Young
Performing Queer Latinidad highlights the critical role that
performance played in the development of Latina/o queer public
culture during the 1990s and early 2000s. The book charts Latina/o
cultural affinities or latinidad in queer spaces in the United
States over a 15-year period that saw a dramatic increase in the
size and influence of the Latina/o population along with the
growing scrutiny of the public spaces where latinidad could
circulate. Performing Queer Latinidad argues that
performances---from concert dance and street protest to the
choreographic strategies deployed by dancers at nightclubs---served
as critical meeting points and practices through which LGBT and
other non-normative sex practitioners of Latin American descent
(individuals with greatly differing cultures, histories of
migration or annexation to the United States, and contemporary
living conditions) encountered each other and forged social,
cultural, and political bonds. At a time when latinidad ascended to
the national public sphere in mainstream commercial and political
venues and Latina/o public space was increasingly threatened by the
re-development of urban centers and a revived anti-immigrant
campaign, queer Latinas/os in places such as the Bronx, San
Antonio, Austin, Phoenix, and Rochester, N.Y., returned to
performance to claim spaces and ways of being that allowed their
queerness and latinidad to coexist. These social events of
performance and their attendant aesthetic communication strategies
served as critical sites and tactics for creating and sustaining
queer latinidad.
Performing Queer Latinidad highlights the critical role that
performance played in the development of Latina/o queer public
culture during the 1990s and early 2000s. The book charts Latina/o
cultural affinities or latinidad in queer spaces in the United
States over a 15-year period that saw a dramatic increase in the
size and influence of the Latina/o population along with the
growing scrutiny of the public spaces where latinidad could
circulate. Performing Queer Latinidad argues that
performances---from concert dance and street protest to the
choreographic strategies deployed by dancers at nightclubs---served
as critical meeting points and practices through which LGBT and
other non-normative sex practitioners of Latin American descent
(individuals with greatly differing cultures, histories of
migration or annexation to the United States, and contemporary
living conditions) encountered each other and forged social,
cultural, and political bonds. At a time when latinidad ascended to
the national public sphere in mainstream commercial and political
venues and Latina/o public space was increasingly threatened by the
re-development of urban centers and a revived anti-immigrant
campaign, queer Latinas/os in places such as the Bronx, San
Antonio, Austin, Phoenix, and Rochester, N.Y., returned to
performance to claim spaces and ways of being that allowed their
queerness and latinidad to coexist. These social events of
performance and their attendant aesthetic communication strategies
served as critical sites and tactics for creating and sustaining
queer latinidad.
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