20 Chapters
Medium 9780253002952

Introduction Toward a De-Colonial Performatics of the US Latina and Latino Borderlands

ARTURO J ALDAMA Indiana University Press ePub


Latinas and Latinos represent the largest and fastest-growing ethnic community in the United States after “non-Hispanic” Whites (14 percent of the US population, approximately 55 million people in 2010).1 Yet the cultural impact of US Latina and Latino aesthetic production has yet to be fully recognized within the US nation-state and beyond. This book moves beyond the by now de-politicized and all-too-familiar cultural theory of the twentieth century and beyond so-called “radicalized” examples of aesthetic production to unravel how culture is performance. Moreover, the following chapters travel beyond the linguistic surfaces and aesthetic limitations of “Latina and Latino” cultural production to reveal the less familiar and unexplored performance terrains of the “Borderlands.” Indeed, Performing the US Latina and Latino Borderlands is a book that challenges readers to engage those profound intercultural, psychic, social, and transnational effects that are being generated through US Latina and Latino testimonio, theater, ceremony, ritual, storytelling, music, dance, improvisation, play, nagualisma-o, call-and-response, spoken-word, visual, body, digital, and sculptural enactments. Each contributing author introduces readers to performance topics, performing artists, and performative enactments that comprise the field of Borderlands Performance Studies. This field is identifiable through its commitment to an alter-Native cultural engineering, the technologies of which we editors identify as “de-colonizing performatics,” and the mestizaje, the hybridity, the bricolage, the rasquache interventions organized around de-colonization that we call “perform-antics.” Join us then as we set the academic stage where complex scholarly engagements are linked with the entertaining, enlightening, and emancipatory aesthetics of Borderlands Performance Studies.2

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Medium 9780253002952

16 Loving Revolution: Same-Sex Marriage and Queer Resistance in Monica Palacios’s Amor y Revolución

ARTURO J ALDAMA Indiana University Press ePub


The brilliant campaigning and historic outcome of the 2008 United States presidential election resonated on local and global levels, shattering—in the views of many—the glass ceilings hovering just above the heads of people of color in the United States. Yet amidst the echoes of celebration, a multitude of voters watched in disbelief as the passing of California Proposition 8 stripped away the rights of same-sex couples to legally marry—a right recognized by the state Supreme Court in May 2008. For nearly six months, queer couples across the state had enjoyed equal access to the rite and rights of marriage before this proposition reversed the historic court ruling.1 Los Angeles–based Chicana writer and performer Monica Palacios staged her dissenting voice in the form of protest performance. Palacios’s treatment of same-sex marriage and Proposition 8 first appeared in an updated version of her one-woman show Greetings from a Queer Señorita that ran for four weeks in Santa Ana, CA, in summer 2008.2 In October 2008 at Highways Performance Space in Santa Monica, CA, Palacios merged the new pieces on same-sex marriage from Greetings to create Amor y Revolución, a silly, sex-laced, and politically charged romp through this defining political milieu for queer Californians.3 From political propaganda to popular reception, Palacios’s performances confront the issue of lesbian, gay, bisexual, transgender, and queer4 rights through the reinscribed metaphor of revolution—a war and a fight for the right to love. Transcending the language of violence and combat, Palacios’s works seize a productive theatrical space of revolutionary love in the face of hateful media representation, legislation, and political campaigning. Invoking Augusto Boal and Gloria Anzaldúa’s living discourse on theater and theory, I will discuss how Palacios’s performances fashion an interstitial space of queer reinscription, coalition, and inspiration for queer and Latina/o communities.

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Medium 9780253010285

14 The Buy In

Mike Roos Quarry Books ePub

Everyone was aware that Ireland’s second opponent, the Holland Dutchmen, would be a far sterner test for the Spuds and Pete Gill than Spurgeon had been. In fact, they were likely to be one of the most difficult opponents on the entire schedule. Holland had several returning starters, led by big men Butch Fenneman and Bill Buse, and many experts in the area favored them not only to replace Ireland atop the Patoka Valley Conference but to be a genuine small-school threat to capture the Huntingburg Sectional title. Thus, Pete Gill began ruminating on strategy against them almost as soon as he returned home from Spurgeon.

It helped that his support among students and townsfolk was now growing, even if only incrementally, in the wake of the victory over Spurgeon. The hitchhiking stunt had not only motivated his team but had also won him a few new fans, who found him at least to be more entertaining than his predecessor. Whether he was truly a better basketball coach would remain an open question.

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Medium 9781574413205

The Lore of Wild Hog Hunting in Texas

Edited by Kenneth L. Untiedt University of North Texas Press PDF



8:15 AM

Page 139



In many parts of West Texas on Friday and Saturday nights when there are neither football nor basketball games, chronological or psychological adolescents and others—male and female, from ages about fourteen through sixty or way beyond—delight in roaring around farm and ranch lands after dusk in high-powered all-wheel drive vehicles—mostly pickups equipped with strong spot lights.

These vigorous people are armed with 30.06s and similar weapons.

In a single four-wheel-drive pickup there is usually enough ammunition to quell a moderate-sized insurrection or flying saucer invasion. The presence of intrepid hunters is welcomed by owners of the land over which these Nimrods ramble frantically in search of what is considered a dangerous creature found almost everywhere in Texas: the wild hog. These hogs are a nuisance, a pestilence, threats to man and beast, and, of course, they smell bad, have ticks, and are ugly. In most species the very young are at least somewhat cute. Not so with wild hogs I have seen up close in West Texas.

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Medium 9781574414615

What Do Horses in the Wild Do?

Ron Tatum University of North Texas Press ePub

What Do Horses in
the Wild Do?

This is a question I get all the time. People want to know how horses who aren’t privileged to have a visit by a horseshoer every eight weeks get along by themselves. I’ll try to shed light on that question, although, as with most questions about horses, there’s a variety of conflicting answers. An old cowboy pal once told me about what he called the “Golden Trim,” where, he claimed, shortly after the birth of the foal in the wild the mother chews off the excess growth of the new baby’s hoof to the exact proportions needed for that baby. From then on, he said, the baby’s foot would remain perfectly balanced in angle and length. (I couldn’t help but picture in my mind the baby extending its foot to be carefully examined and chewed to the exact angles by the mother who had learned this in some kind of instinctive equine birthing clinic . . . )Then, my friend said, the horse will run around on perfect feet that will never need any work until it is caught by a human and ruined by restricting the terrain available to the horse, and by putting iron shoes on its previously perfect feet.

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