Share the story of what Open Access means to you
University of Michigan needs your feedback to better understand how readers are using openly available ebooks. You can help by taking a short, privacy-friendly survey.
Transnational encounters: music and performance at the U.S.-Mexico border
Alejandro L Madrid
You don't have access to this book. Please try to log in with your institution.
Log in
-
Frontmatter
-
List of Figures (page xi)
-
List of Music Examples (page xiii)
-
Acknowledgments (page xv)
-
Map of the U.S.-Mexico Border (page xvii)
-
1. Transnational Musical Encounters at the U.S.-Mexico Border: An Introduction (Alejandro L. Madrid, page 1)
-
PART ONE Border Meanings
-
2. Reggae on the Border: The Possibilities of a Frontera Soundscape (Luis Alvarez, page 19)
-
3. Breaking Borders/Quebrando fronteras: Dancing in the Borderscape (Sydney Hutchinson, page 41)
-
4. Narcocorridos: Narratives of a Cultural Persona and Power on the Border (Mark C. Edberg, page 67)
-
-
PART TWO Nationalisms
-
5. Mariachi Reimaginings: Encounters with Technology, Aesthetics, and Identity (Donald Henriques, page 85)
-
6. "This is Our Música, Guy!" Tejanos and Ethno/Regional Musical Nationalism (José E. Limón, page 111)
-
-
PART THREE Indigeneity and Modernity
-
7. Re-localized Rap and its Representation of the Hombre digno (Helena Simonett, page 129)
-
8. Waila as Transnational Practice (Joan Titus, page 149)
-
-
PART FOUR Cultural Citizenship and Rights
-
9. Transnational Identity, the Singing of Spirituals, and the Performance of Blacks among Mascogos (Alejandro L. Madrid, page 171)
-
10. Transnational Cultural Constructions: Cumbia Music and the Making of Locality in Monterrey (Jesus A. Ramos-Kittrell, page 191)
-
11. Patriotic Citizenship, the Border Wall, and the "El Veterano" Conjunto Festival (Margaret E. Dorsey and Miguel Díaz-Barriga, page 207)
-
-
PART FIVE Trans-Border Cosmopolitan Audiotopias
-
12. The Tijuana Sound: Brass, Blues, and the Border of the 1960s (Josh Kun, page 231)
-
13. La avanzada regia: Monterrey's Alternative Music Scene and the Aesthetics of Transnationalism (Ignacio Corona, page 252)
-
-
PART SIX Contested Identities
-
14. New Mexico and 'Manitos at the Borderlands of Popular Music in Greater Mexico (Brenda M. Romero, page 287)
-
15. "Todos me llaman El Gringo": Place, Identity, and Erasure within the New Mexico Hispanic Music Scene (Lillian Gorman, page 312)
-
-
PART SEVEN Performing Locality and Gender
-
16. From Pistol-Packing Pelado to Border Crossing Mojado: El Piporro and the Making of a "Mexican" Border Space (Cathy Ragland, page 341)
-
17. Dancing Reggaetón with Cowboy Boots (Ramón H. Rivera-Servera, page 373)
-
-
Contributors (page 393)
-
Index (page 399)
Journal Abbreviation | Label | URL |
---|---|---|
HAHR | 93.1 (Feb. 2013): 157-158 | http://www.jstor.org/stable/23352163 |
Citable Link
Published: c2011
Publisher: Oxford University Press
- 9780199876112 (ebook)
- 9780199735921 (hardcover)
- 9780199735938 (paper)