Transnational encounters: music and performance at the U.S.-Mexico border

Table of Contents

• Frontmatter
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• List of Figures (page xi)
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• List of Music Examples (page xiii)
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• Acknowledgments (page xv)
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• Map of the U.S.-Mexico Border (page xvii)
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• 1. Transnational Musical Encounters at the U.S.-Mexico Border: An Introduction (Alejandro L. Madrid, page 1)
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• PART ONE Border Meanings
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  • 2. Reggae on the Border: The Possibilities of a Frontera Soundscape (Luis Alvarez, page 19)
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  • 3. Breaking Borders/Quebrando fronteras: Dancing in the Borderscape (Sydney Hutchinson, page 41)
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  • 4. Narcocorridos: Narratives of a Cultural Persona and Power on the Border (Mark C. Edberg, page 67)
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• PART TWO Nationalisms
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  • 5. Mariachi Reimaginings: Encounters with Technology, Aesthetics, and Identity (Donald Henriques, page 85)
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  • 6. "This is Our Música, Guy!" Tejanos and Ethno/Regional Musical Nationalism (José E. Limón, page 111)
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• PART THREE Indigeneity and Modernity
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  • 7. Re-localized Rap and its Representation of the Hombre digno (Helena Simonett, page 129)
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  • 8. Waila as Transnational Practice (Joan Titus, page 149)
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• PART FOUR Cultural Citizenship and Rights
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  • 9. Transnational Identity, the Singing of Spirituals, and the Performance of Blacks among Mascogos (Alejandro L. Madrid, page 171)
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  • 10. Transnational Cultural Constructions: Cumbia Music and the Making of Locality in Monterrey (Jesus A. Ramos-Kittrell, page 191)
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  • 11. Patriotic Citizenship, the Border Wall, and the "El Veterano" Conjunto Festival (Margaret E. Dorsey and Miguel Díaz-Barriga, page 207)
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• PART FIVE Trans-Border Cosmopolitan Audiotopias
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  • 12. The Tijuana Sound: Brass, Blues, and the Border of the 1960s (Josh Kun, page 231)
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  • 13. La avanzada regia: Monterrey's Alternative Music Scene and the Aesthetics of Transnationalism (Ignacio Corona, page 252)
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• PART SIX Contested Identities
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  • 14. New Mexico and 'Manitos at the Borderlands of Popular Music in Greater Mexico (Brenda M. Romero, page 287)
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  • 15. "Todos me llaman El Gringo": Place, Identity, and Erasure within the New Mexico Hispanic Music Scene (Lillian Gorman, page 312)
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• PART SEVEN Performing Locality and Gender
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  • 16. From Pistol-Packing Pelado to Border Crossing Mojado: El Piporro and the Making of a "Mexican" Border Space (Cathy Ragland, page 341)
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  • 17. Dancing Reggaetón with Cowboy Boots (Ramón H. Rivera-Servera, page 373)
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• Contributors (page 393)
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• Index (page 399)
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