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

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

Alejandro L Madrid c2011 © Oxford University Press
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Series
  • ACLS Fellows’ Publications
ISBN(s)
  • 9780199735921
  • 9780199735938
Subject
  • Music & Musicology
Citable Link

  • Table of Contents

  • Reviews

  • Stats

  • 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)
Reviews
Journal AbbreviationLabelURL
HAHR 93.1 (Feb. 2013): 157-158 http://www.jstor.org/stable/23352163
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