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"One of the key takeaways from the introduction is how Deborah Vargas challenges the traditional, male-dominated narratives of Chicano music by highlighting the contributions of Chicana and Tejana singers. She introduces the concept of 'dissonance' to describe how these women disrupt and expand the understanding of Chicano music, showing that their voices and experiences are crucial for a more complete and inclusive history. It's interesting how she critiques the tendency to elevate certain figures while ignoring others, pushing us to think about the broader cultural impact of these 'dissonant divas.'"

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Breakout the traditional gender forms of Mexican female performance customs when performing rancheras

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Example of a Chicana artist known for challenging cultural norms

"The excessive style markers that have now come to represent Selena—the rhinestone bustier, the silver spandex, the bright colors, and multiple accessories—were not about selling herself to heterosexual men’s desire, but rather, allowed her to claim her groove, publicly registering a self-pleasure that drew on disco and freestyle diva currency” (Vargas 2012, 191).

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“cultural forms are not a reflection of the

social . . . but rather the means by which subjects work through their

connections to a larger totality and communicate a sense of relatedness

to a particular time, place, and condition.” This stand out because I think it emphasizes that cultural forms, like music, are not just reflections of society but active tools through which people understand and shape their identities and connections to the world. It may also be important because it shows how marginalized groups, like Chicana singers, use their art to navigate and influence their social and cultural environments, making their contributions more significant than just entertainment.

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The quote below underscores the importance of genres mentioned as a tool for feminist expression and their impact on contemporary art scene's in Mexico City

"Punk and metal gave feminists in Mexico City the means to express their defiance against patriarchal norms, using aggressive music as a form of resistance and artistic expression. These genres weren't just about rebellion; they were tools for challenging societal expectations and creating spaces for feminist discourse, influencing contemporary art and subverting traditional gender roles."

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This term is define as "Latinas/os in the United States who are of African ancestry and choose blackness as a racial identity in addition to identifying along ethnic lines with their Latina/o national origins". There are many researcher point out that many Latino scholars are honor mix blood and think it will eliminate the racial difference.

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Very little documents and studies on the Afro-Latino identity

Work on Afro-Latino studies helps related fields such as Black studies and African studies.

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Discussions on feminist punk and metal scenes in Mexico City emerges forms of resistance patriarchal and class norms (Societal expectations, creating spaces for alternative forms of feminist expression)

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Piracy and Illegal Archival of Mexican punk

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Piracy and Illegal Archival of Mexican punk

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The ban of rock in Mexico City made piracy one of the only viable ways for women-led punk bands to archive their work and performances

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Race difference is refer by the hair difference, while the author using this song to reflect her culture

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The quote below describe how does the female artists using the body movement in the film to reflect their story and idea-"[t]he critical examination of the work of these women artists in these films
necessitates an interdisciplinary approach that is attentive to race, gender, and
sexuality, as played out on or manifested through the body"(Gutierrez, 4)

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The video using of light and shadows at whole time that have reflect the artists mood and emotion. In addition, the whole video have very blurry and dark sense at most of the time, which at the end, the whole scene become very clear and light that shows the artists emotion also have been transfer to light or more positive emotion. Also, the blurry have also appear to making the audience to noticed the artists’s emotion have also become blurry with the experience of gender.

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Many people in Cuba still misunderstood the difference between "transformistas and travestis". The author also stated that the "[t]ensions between and conflations of gender performance and transgender subjectivity haunt writing on gender and sexuality in Cuba".

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"Travesti is a transfeminine category of sexual subjectivity deployed in various parts of Latin America. As elsewhere, travesti in Cuba is “classed and raced.”

Travesty's don't use the word transgender because they feel it refer to women who had sex change operations, which they saw themself are distinct from these women and used the term to mark the difference.

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There is a lot of tension displayed in the video, such as a fight between many women and several men.

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"Travesti is an identification that indexes a political position of resistance by trans femme/feminine/women’s bodies of, historically, mostly black and people of color from poor communities"

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"La Guillot joins different publics, distant communities, just as boleros allow the links between different things to come together. Time and space, sexualities and capitalism collapse and coalesce"

Combination of past and current, of different community...

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"the nostalgia has chosen to represent its very ambivalence, at this time, through the gay man"

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In the reading, authors like Villaurrutia use their writing to cope with the societal constraints on their identities. By expressing themselves in fragmented, ambiguous ways, they find a way to resist rigid norms without openly challenging them. This subtle approach helps them maintain their sense of self while quietly pushing back against societal pressures.

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"Bolero refuses all that exists by mourning all that has been; its temporal mode is always the past or the future seen from the point of view of the ruins of the past—or of the past as a ruin. It works on the registers of defiance, nostalgia, anger, and lust; its geographical referents are a mental constellation of tropics that can be invented at will. These emblematic spaces can exist only by erasing other tropics, those where poverty is the norm and not the exception, where the panache and romance of the nightclub are available only

to a few"

However, the author states that there should be connection between Bolero and gaysis as both as "a voice that resists theorization", and "call for theoretical gestures".

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How do Villaurrutia's fragmented identities in his works reflect his way of coping with societal constraints on his sexuality?

How does bolero, as a musical genre, serve as a tool for maintaining and negotiating cultural identity, particularly for the Cuban diaspora?

In what ways do bolero performances challenge traditional gender roles, and how does this contribute to the genre's appeal within queer communities?

How does Olga Guillot’s role as the "Queen of Bolero" in Chapter 6 reflect the complex relationship between nostalgia, cultural identity, and performance in Latin American music?

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"It is obvious that the recuperation of the boleros (or the affective space of the ranchera) that is announced in these two films arises from a reappropriation of the public sphere in Latin America. But these films also show that desire was always more than just aesthetics; it was always the desire for participation and for pleasure (161)."

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Olga Guillot is portrayed as a central figure in the world of bolero, she represents a connection to a nostalgic past for the Cuban diaspora. In chapter 6 it describes an evening in May 1998 in Madrid where Guillot, known as the "Queen of Bolero," is celebrating her sixty years in the music industry. This performance, held at the Centro Cultural de la Villa, symbolizes her long-standing influence on the genre and her status as an enduring cultural icon.

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"Music, Mejicanas, and the Chicano Wave-Introduction" By Dissonant Divas

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"Music, Mejicanas, and the Chicano Wave-Introduction" By Dissonant Divas

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"Listening in Detail is an interaction with, rather than a comprehensive account of, Cuban music. It necessarily presses against and moves away from how it has been packaged, circulated, and written about because “Cuban music” often mirrors how Cuba operates in the greater imaginary(Vazquez, 8)".

"To listen in detail calls into primary question the ways that music and

the musical reflect — in flashes, moments, sounds — the colonial, racial, and geographic past and present of Cuba as much as the creative traditions that impact and impart from it. As I listen in detail to Villa’s performance, I call attention to this past, present, and unheard future(Vazquez, 5)".

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"Sex and dance index the spatio-temporal dimensions of both materiality and ephemera. To think about them as only about corporeal movement or solely as affective experience misses the dynamism (and perhaps thrill) that their performances unleash"(Rodriguez 2024, 49). The artists using dancing, by movement, by finger language, to express the desire, power, sex, but not materiality the body