# data[].attributes.body
Dissonance in a musical way is when two or more sounds clash together in an "uncomfortable" way. In Vargas' pov, dissonance defines singers (usually queer and/or female) that make the overall culture or genre uncomfortable because of how different they are from the norm

Diva is usually used as a derogatory term to talk about women that are "too dramatic, too demanding, or too much", but has been reclaimed to mean a powerful and strong character

# data[].attributes.body
Terms used to describe when an individual or group goes against a belief what is considered the norm or what is culturally normal.

# data[].attributes.body
Divas refer to individuals who are "too loud, too late, and too out of place for heteronormative legibility or audibility in la onda"

# data[].attributes.body
Artist like Selena who went against the normal beliefs of what Latinx cultural aspect of music was and incorporated things like the English language or pop culture into her songs and different genres into her songs. She was a dissonant diva who did what she wanted and broke out of the Latinx cultural norms with her music.

# data[].attributes.body
La Onda was a "wave" of new music made by Chicanos and Tejanos that shaped their culture in a new way

Rock, doo wop, etc

# data[].attributes.body
Chicanos are people of Mexican descent who are born in the United States and this term is used as a symbol of pride

# data[].attributes.body
Tejanos are Texans of Mexican descent but can also be used to classify descendants of Mestizos who settled in Texas before it became a state

Tejano music usually is a form of cumbia that was really solidified by Selena y Los Dinos

# data[].attributes.body
The definition of Afro-latinidades refers to the individuals in the US but not subjected to only the US who define themselves of being of African decent and of Latino decent as well.

# data[].attributes.body
Afro-Latinidades in the US faced many challenges due to the fact that they never really felt like they belong in either category that have been made by society already. These minority group faced lots of racism due to their African decent in the US and also faced hardship from their Latinx decent due to not really fitting in due to them coming from 2 race backgrounds.

# data[].attributes.body
Punkeras and metaleras made up a big scene throughout Latin America in the 1970s-80s, especially in Mexico City. The punk scene was used as a form of revolt and protest against the government and the patriarchy that placed these women into categories they did not want to be placed in

# data[].attributes.body
Afro- Latinas/os are often “too black to be Hispanic”

Afro- Latinas/os experience racist treatment from other Latinas/os and are seen as outsiders of Latina/o identity

# data[].attributes.body
Punk, metal, and rock groups were unable to get properly recorded music through record labels because of the prohibition of these genres in the 80s. They would record on their own and then burn their own CDs and cassettes and sell them at El Tianguis del Chopo to further spread their "message". These bootleg recordings are some of the only recordings these bands have

# data[].attributes.body
Punk provided a way for "girls to jump and scream" within the limitations of "traditionally patriarchal and masculinist contexts throughout Latin America." Punk gave young women in Mexico a way of expressing and empowering themselves from traditional societal roles. Woman defined gender, belonging, and class structures.

# data[].attributes.body
Ramos assumed the punkeras wore punk attire when performing or when attending underground concerts but he learned from La Zappa Punk that they would actually wear skirts and shirts that said "Susys Punk"

# data[].attributes.body
The punk scene in Mexico City considered themselves family as the scene included single mothers and girls from the neighborhood. They would come together as a "form of resistance against marginalization and repression in a system" that was "rotten"

# data[].attributes.body
Differences in living standards among Latinas/ os of different races contribute to identifying as Afro- Latina/o in the U.S.

A study by the State University of New York at Albany showed that Latinas/os who identify as “black” have lower incomes, higher unemployment rates, higher rates of poverty, less education, and fewer opportunities

Also, segregated residential patterns of Afro-Latinas/os in areas of African American settlement allow Afro-Latina/o youth to be introduced to African American culture, which impact their decision to identify as Afro- Latinas/os.

# data[].attributes.body
Musicians like Totó La Momposina, Lido Pimiento, and La Morena de Chicamocha are all Afro-Colombians who use their African roots in their music. This is heard by the heavy percussion that is commonly heard throughout the coast of Colombia, as well as singing about nature, their hair, and racial issues

# data[].attributes.body
The term Transformista refers to an individual who is a drag performer.

# data[].attributes.body
M. Mytra Leslie Santana gives insight into two Black transgender drag performers in Cuba and shows us the lives of these individuals living in a country where transformista (drag performances) is new and not widely accepted yet. But these transformista break down these barriers and help to address the wide issues of transitional LGBTQ rights.

# data[].attributes.body
Term used for a "street queen" or transgender sex worker

# data[].attributes.body
Wide spectrum of different "societal roles" touched upon by M. Myrta Leslie Santana

# data[].attributes.headline
Transformista not the same as Transgenero  (Transgender)

# data[].attributes.subject
Transformista not the same as Transgenero  (Transgender)

# data[].attributes.body
According to Lesilie Santana, "Transformista is not Transgender" (Santana, 2015, 47).

# data[].attributes.body
"Sister to sister" talk that is used to describe conversations had between Black women in which they share important life lessons and advice with each other

# data[].attributes.body
In her work Santana goes over the break down of the different terms to show the distinctions and make sure the terms are used and applied correctly.

# data[].attributes.body
Term used to remind oneself to live more and to find joy in life; an "embodied knowledge of black and trans resistance"

# data[].attributes.body
Choice of instruments

Colors and story told in music video

Lyrics

Visual (makeup, clothes, hair)

Choreography

# data[].attributes.body
"Praxis of self and collective healing, caring, networking, and fighting, in relation to what is produced about us" (211)

the ways we care for ourselves and for our communities, our relation to our landscapes, the discourses we create, the artistic work we produce in different media, and the imaginaries and emotions that are precariously disembodied into language

# data[].attributes.body
This is an important aspect of representing gender through music since it gives representation and can also be used to address any gender roles issues society has made. So basically it is a way to tell a story through the arts in this case music.

# data[].attributes.body
Santana says that this embodied knowledge is the "Archive" of black trans women's knowledge in Brazil and the that black people have always been theorizing through oral history

# data[].attributes.body
"Participation of black cis women within feminist social movements"

movement within communities and orgs

participation in different movements

how Black women move

# data[].attributes.body
Trans/queer: describes individual who embraces the tensions between these social categories

# data[].attributes.body
Fugitivity: rejecting systems that oppress individuals, refusal to lose oneself

# data[].attributes.body
Trans feminism: liberation movement against gendered racialized oppression, turns to the histories of trans, black, and feminist legacies of theory and action

# data[].attributes.body
Term in Brazilian Portuguese, roughly translated as “more alive, alert, savvy”

"transitioning in the world by transcending, trans-ing life"

Being mais viva becomes the result & a state to avoid death

Related to “vigilant awareness,” the critical thinking required to create a community and discover self love by confronting racist sexist and transphobic messages

# data[].attributes.body
Transness- Santana explains that its not just about gender identity; its about the lived experiences of transgender people, particularly black trans individuals, within a society that often marginalizes them.

# data[].attributes.body
The concept of overlapping social identities and related systems of oppression, domination, or discrimination, particularly at the intersections of race, gender, and sexuality. This is a crucial framework in Santana's work. Referring to how different forms of identity intersects.

# data[].attributes.body
Santana discusses embodiment as the way individuals experience their bodies in relation to their identities, particularly in contexts where these bodies are policed, marginalized, or celebrated. For Black trans individuals, embodiment is not just a personal experience but a political one, as their bodies are sites of both oppression and resistance.

# data[].attributes.body
The dual forces of visibility and invisibility in the lives of Black trans people. Visibility can be a source of empowerment and validation, but it can also bring vulnerability to violence and discrimination. Invisibility, on the other hand, can be a protective strategy but also a form of erasure. The tension between these forces is a key theme in understanding the lived realities of Black trans individuals.

# data[].attributes.body
Umbrella term used by people who do not fit into the stereotypical "heterosexual" box

# data[].attributes.body
Items of collectible memorabilia, typically written or printed, that were originally expected to have only short-term usefulness or popularity

Includes traces of lived experience and performances of lived experience

# data[].attributes.body
Structured mode of desiring

Builds community

Type of activism that disrupts established boundaries

Pushes us toward new ideas and understanding

# data[].attributes.body
Querness creates a space/environment to allow individuals to freely express themselves.

# data[].attributes.body
As well as allowing for individuals to freely express themselves through either race, gender etc...

# data[].attributes.body
Quiroga refers to themes of Love, longing, heartbreak, and nostalgia. Quiroga dives into Boleros and how it helps to create collective experiences that help listeners to connect through universal emotions.

# data[].attributes.body
Boleros refers to a type of genre rooted in Latin American music, and a key feature they have is the deep emotion and expressive qualities it contains.

# data[].attributes.body
"Boleros play with a border where masculinities and femininities are to be seen in ways that do not necessarily correspond to the ways gender acts out in the public sphere"

"In performing boleros, social roles may flip: women may be defiant or aggressive, and men may be forlorn, destitute, or disinterested"

Boleros challenge and create nuances in male and female gender norms.

# data[].attributes.body
In a society that often seeks to control or suppress queer bodies and desires, openly expressing one’s sexuality becomes a radical act of defiance.

This framing invites a deeper reflection on how our desires can be revolutionary.

What does it mean to reclaim desire in a way that is both deeply personal and politically charged?

# data[].attributes.body
"Boleros are almost conscious of the fact that they are ill-suited for translation—among other reasons, because they are too dependent on a sense of poetry and lyric that, even when translated, shows its obvious debts to the sentimentality of the fin de siècle space"

The complexity of boleros is shown in this quote because it shows how it's difficult to fully and accurately capture the meaning of what's being said when translating. It's multi-layered it's in poetry.

# data[].attributes.body
Queerness is an act of resistance against oppressive forms.

# data[].attributes.body
Olga Guillot

# data[].attributes.body
Michelle Gonzalez Rodas

Kimberly Duong

Allison Gau

Chedwens Souffrant

# data[].attributes.body
Las Malandrinas refers to women who break away from the traditional feminine roles of society. The "bad girls"

# data[].attributes.body
“Her approach to making music conveyed struggle and an unrelenting exertion of labor that symbolized a notable Latina welfare-class immigrant tenacity” (27)

Jenni Rivera made music in a way to showcase the struggles happening in society and used her music as a gateway to address these issues and challenge them.

# data[].attributes.body
Promoting a capitalist goal.

# data[].attributes.body
Performance of malandrinas highlight the racist contradictions of neoliberal Latina citizenship

# data[].attributes.body
Goes against traditional latina femininity expectations

Bold and defy norms

# data[].attributes.body
Jenni Rivera described the reference “las malandrinas” as “‘bad girls, party girls" who go clubbing, drink lots of tequila and stand up for themselves.

Rivera’s “las malandrinas” and her performances demonstrated a "sonic disobedience to normative Mexicanidad or Latina citizenship"

# data[].attributes.body
"Mexicanas seemed especially drawn to Rivera’s way of openly and assertively recounting the challenges in her life conveyed in her musical and personal narratives"

Jenni Rivera's music provided a sense of personal connection to Mexicans because they could deeply relate to her performances with their own experiences.

# data[].attributes.headline
"Gesture in Mambo Time," Juana María Rodríguez

# data[].attributes.subject
"Gesture in Mambo Time," Juana María Rodríguez

# data[].attributes.body
Dance acts as a medium that allows individual's movements and experiences to be conveyed.

"how forms of movement come to be defined as forms of cultural identity"

# data[].attributes.body
Although Jenni herself was not queer, her music and performances were a strong point in queer politics for many Hispanic queers.

"...the sounded j or jota in Jenni is understood in this essay as signaling a potential for queer cultural politics in Jenni Rivera’s musical performances, especially the queer performances of mexicana femininity in relationship to the neoliberal projects of Latina/o citizenship" (Vargas 2018, 31)

# data[].attributes.body
A significant queer icon in Latin America that was fearlessly himself despite all of the backlash he received when he was first starting. A singer with a lot of emotion and many sparkly clothes that inspired many other queer artists to emerge from the shadows

# data[].attributes.body
Style of Latin American film that helped Latinos "adjust" to black individuals but was a style of film that made them a part of the background while a pretty white Latina was the forefront

# data[].attributes.body
The act of taking your time to listen and take in everything that is heard and felt in order to understand the meaning behind a piece of art, music, etc.

Goes hand in hand with listening in detail

# data[].attributes.body
Gesture holds embodied notions of history

They all blur the lines between the sexual and the nonsexual

Music is used to bring communities together and to create bonds and friendships