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Race being separate can create problems and maybe even some confusion. Non-Spanish speakers, like Brazilians and Haitians, are considered Latinx. Being Latinx does not look or even sound a certain way.

(Kile Hsu)

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Lugones argues that traditional feminist ideas are mostly centered around whiteness and that to truly understand feminism we must look into the individual experiences of all women of color and the ways that their experiences were shaped by colonialism. It shows how feminism should be a resistance that focuses on race, gender, and colonialism and how we can address complex forms of oppression.

(Kile Hsu)

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Both listening and making music is an art of expression for identities, experiences, and struggles. Real world and social issues that individuals face can be addressed as well. For example, an artists who mentions gender equality and consent is Bad Bunny. In his "Yo Perreo Sola" music video, each new clip of him dressed up as a woman promotes different ways of how a woman "should" feel. The different clips display a woman feeling safe, being able to have fun by herself without a man, and not feeling pressured or objectified.

Rachel A.

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"...The coloniality of gender is still with us; it is what lies at the intersection of gender/class/race as central constructs of the capitalist world system of power," (Lugone, 746). Lugone explains how race, gender, and class all shape an individual's experience with oppression and resistance. Each of these identities create unique experiences of oppression for each individual. What may work for one group, may not work for another.

(Kile Hsu)

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Selena's song reflected the embodied knowledge of Tejano culture, pop, and cumbia, which showed a merging of these identities and rejecting the definite organization of the world. Her vocals and dancing throughout the concert allowed audiences to connect to her perspective, bridging cultural and emotional divides among the audiences.

Danny L.

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“Modernity organizes the world ontologically in terms of atomic, homogeneous, separable categories” (Lugones 2010, 743) This quote explains how music can disrupt modernity through its embodied knowledge that expresses an intersection of race and gender rather than separating them into categories.

(Kile Hsu)

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Readings:

Alexandra T. Vazquez, "Listening in Detail"

Chavela Vargas, "Paloma Negra" (1961)

Jenni Rivera, "Paloma Negra"

(Kile Hsu)

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"Listening will always, then be to be straining toward or in approach to the self"

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"Listening will always, then be to be straining toward or in approach to the self"

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We process sound as a reflection to ourself and we try to make our own meaning of what we are taking from the lyrics or performance.

(Kile Hsu)

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Alexandra T. Vazquez, "Listening in Detail" 

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Alexandra T. Vazquez, "Listening in Detail" 

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The signified is blurred and the signifier is not correctly understood by the listeners. The self is not just a reference to subject. Nancy is drawing from self and subject which can only be understood through the process of describing others.

(Kile Hsu)

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Professor and Chair of Department of Performance Studies, NYU

PHD in Performance studies, NYU

(Kile Hsu)

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Preparatory gesture to music. Gives an introductory sound that you will feel. We don't even know who is playing the piano at the start. We are invoked into this performance knowing nothing.

(Kile Hsu)

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Gives examples of genres and what environments or narratives we are invoking

Properties:

Pitch

Rhytym

Harmony

Vocality

Instrumentation

Mix/reverb

(Kile Hsu)

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How Does Music Function In Film Lecture 5

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How Does Music Function In Film Lecture 5

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Good Neighbor - The neighbor who resolutely respects himself and because he does so respects the rights of others.

Danny L.

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Movie musical use of hip swaying dances and other rhythms like the conga, samba, and rhumba. It connected latin identity with these dances, especially after WW2.

Danny L.

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CARMEN MIRANDA - O QUE É QUE A BAIANA TEM

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CARMEN MIRANDA - O QUE É QUE A BAIANA TEM

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Presents a strong image and a song about self-fashioning. Self adornment and related to Miranda's presence and self. She explains how you need materials and certain movements to establish your character.

Danny L.

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CARMEN MIRANDA - O QUE É QUE A BAIANA TEM

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State with largest population of African descent. Lots of slavery and a majority of mixed population.

(Kile Hsu)

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Carmen Miranda - O que é que a baiana tem/Quando eu penso na Bahia | 1944

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Carmen Miranda - O que é que a baiana tem/Quando eu penso na Bahia | 1944

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She is still referencing herself as a dancer and performer and not really seeing a Brazilian context. She is the Latin singer. All of South America gets collapsed into Afro-Brazilian carnival aesthetics as seen by the costumes and performance.

Danny L.

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Carmen Miranda - Os Melhores Clipes Musicais (HD)

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The use of the banana is supposed to represent something provocative with a bunch of dancing girls with banana skirts.

Danny L.

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"The carnivalesque juxtaposition of the 'two Shakiras' (one black, one phenotypically light/white), underscores a portrayal of Colombian racial identity at once liberatory and troubling; while the parallels drawn between the young marimonda and Shakira suggest a fruitful engagement with and an internalization of Afro-Colombian culture that extends beyond the merely epidermal, it also highlights a relational dynamic in which white/light subjects always occupy the (literal, symbolic) center, just as Afro-Caribbean individuals/objects are relegated to the (literal, symbolic) margins"

(Kile Hsu)

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This quote highlights how race and identity are constructed and represented within Shakira’s performance, particularly through the symbolic representation of race and gender. It reflects a power dynamic where white/light bodies are at the center, while Afro-Colombian figures, even when depicted as part of the culture, are often relegated to the margins. The term "carnivalesque" further connects this to a performative or sexualized display that both challenges and reproduces certain societal roles and racial hierarchies. The tension between liberation and marginalization here speaks to the complicated ways in which racial and gender identities are intertwined and how power is negotiated in cultural representations.

(Kile Hsu)

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"Metaphorically and figuratively mapped onto the light/“white” body of Shakira and the darker body of Wycleff Jean, the mul ticultural and multiracial Caribbean diasporas that the central protagonists represent are united by their love of music and dance, exchanges that fore ground the relational, syncretic nature of pan-Caribbean culture."

(Kile Hsu)

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This quote delves deeply into how race and identity are represented through gender and power dynamics in the context of the video. The comparison between Shakira’s “light/‘white’ body” and Wyclef Jean’s “darker body” touches on racialized power and the intersectionality of their identities. It emphasizes the syncretic nature of their performances, suggesting a shared cultural foundation, but also critiques the oppression they face within larger geopolitical structures, particularly within the framework of U.S. migration policy and global racial hierarchies. The mention of negative stereotypes also reflects the ways in which these identities are shaped and constrained by external forces. This highlights the tension between cultural solidarity and the structural inequalities that persist despite the celebratory tone of their performances.

(Kile Hsu)

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The Burden of Liveness

-Minoritarian subjects are made to perform and be fixed to the present.

Mediation and Audience

-"Denies subalterns lack to alternative representation."

Rachel A.

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Chuma and queers are not one and the same, but they do share a drama queen

s identifications. Yet, chumeria's relation to the discourse of queerness is not that of "stand-in." Chumeria's discourse of loudness and deliberate tackiness does not...

Rachel A.

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Chongivity Activity - La Goony Chonga

Rachel A.

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Chusmeria is being performed by being filmed in a store which may be considered tacky or tasteless.

The conflict in the beginning, the intro is rowdy/loud.

Before the beat drops, we see people talking over each other and the sounds of their nails.

The sound is upbeat and energetic/playful. It's a dance song. Punctuated with accented beats.

Rachel A.

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Olga Guillot - " Sabor a Mi"

Rachel A.

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Malandrina feminism

We might view las malandrinas' pointless and throwaway gender performance as the sonic waste of Latina neoliberal citizenship.

The three racialized discourses of structural difference:

Hypersexual and undisciplined

Darkened and suspect

Failure of womanhood; poverty

Danny L.

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Two different performances of Mexican femininity are characterized by the music video narrative: one exhibits a more masculine, center-cool posturing with a sense of criminal activity, while Las Popis illustrates a femininity that is soft-spoken, well-behaved, and dependent in their musical inquiries. From the start of the video's story, it is evident that the rowdy bunch of Mexicans is a representation of the song's title.

Danny L.

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Neoliberalism and Proper Latina Citizenship

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Neoliberalism and Proper Latina Citizenship

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What is neoliberalism? "Neoliberalism is generally thought to label the philosophical view that a society's political and economic institutions should be robustly liberal and capitalist but supplemented by a constitutionally limited democracy and a modest welfare state."

Danny L.

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“Reggaeton often employs gendered and racialized performances, reinforcing stereotypical images of Latinx masculinity and femininity, but also offers a space where these roles can be subverted and reimagined,” (Madrid 2018).

Rachel A.

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“Jenni Rivera’s malandrinas represent mexicana gender and sexuality, which are a misfit within non-liberalism's marketing of the Latina/o citizen as perpetually dutiful and deferential,” (Vargas 2018).

Rachel A.

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“Disidentification is a survival strategy of resistance that operates within, against, and outside dominant culture,” Munoz 1999).

Rachel A.

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“In performance, artists not only present their artistic selves but also perform their racial gendered, and sexual identities…often subverting or playing with dominant stereotypes,” (Quiroga 2018).

Rachel A.

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“...To engage in such a move in unreflexive fashion runs the risk of eliding the intrinsically transnational character of U.S. Ethnic Studies vis-à-vis American Studies and thereby erasing, as is so often done in the globalized labor market, the intellectual labor and contributions of women and of communities of color in general.” (Cepeda, 134).

Rachel A.

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"Afro-Latinas/os are frequently mistaken for African Americans in their own communities and upon identifying themselves as Afro-Latinas/os are told, 'But you don’t look Latina!'” (Hernandez, 7).

Rachel A.

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Dance, gesture, and nightlife

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Context returns to codify everything we know about interpretation, interpretations that are seasoned through language and culture. (126)

Danny L.

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The utterances that emerge in sex are specific to a language and to the interpretive meanings that particular language allows. (127)

Danny L.

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Meaning, word, and sound draw upon distinct elements of the erotic archive' though likewise charged, they each rely on and create another form of psychic imagery. Memory erupts in words, and words, articulated in languages that are never fully our own, have a character that is corporeal. (127)

Danny L.

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Gestures have a cultural history in memory. The pursuing of crimson lips, the jutting of a hip flirting forward, the tantalizing curve of the femme's hand as she pulls her lover toward her all emerge from an erotic archive that has been peopled with mothers, aunts, neighbors, classmates, dance partners, and lovers who have conveyed the feminine in culturally specific ways. (128)

Danny L.

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Dance, sex, touch, taste, gestures, and utterances all blur the lines between the sexual and the nonsexual, as they allow us to imaginatively signify sensory practices of meaning making. (135)

Danny L.

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The gestures and utterances of sex, like the turns and shimmies of dance, are all ways of "being-in-language," communicating our desire to communicate. (136-137)

Danny L.

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Victoria Santa Cruz, “Me Gritaron Negra” (1978)

-Very profound artist, born in 1922

-She comes from a very art-activist family

-Became professor in Carnegie Mellon

“Me Gritaron Negra” (1978)

-Purpose: empowerment of the black community and emphasizing a sense of pride in the community’s culture

-Technique used: punctuation, repetition (underscoring the artist’s emotion)

-Connection to Tanya Kateri Hernandez: Both relates to the discussion of Afro-descendant and American black communities

(Edna Yang)

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Rachel Alarcon

Kile Hsu

Danny Lopez

Jeremy Tow

Edna Yang

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Bad Bunny, Yo Perreo Sola

-Fast speed

-very rhythmic

-Dembow beat

- Instrument used in the music is simple

The first part of the song is singed by a woman singer, then Bad bunny’s voice came out and blend into the music video.

Bring voice for the social group of Latinx female and the LGBTQ+

(Edna Yang)

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"Trans thus becomes the capillary space of connection and circulation between the macro- and micro- political registers through which the lives of bodies become enmeshed in the lives of nations, states, and capital formations (Stryker, Currah, and Moore 2008, 14)."

Transgender identity is more complex than people originally thought; It connects individual to a larger community and system (like politics and law). Henceforth, the life of transgender people can be seen as a reflection of the issue of the society and personal conflicts.

(Edna Yang)

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“The gender system is not just hierarchical but racially differentiated, and the racial differentiation denies humanity and thus gender to the colonized”(Lugones 2011)

Racism, gender discrimination have close correlation. Thus, it is important for more artist to create songs like Bad Bunny that voice for these minority communities.

(Edna Yang)

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Technique: used traditional Brazilian instruments (such as surdo); repetition in lyrics

This is a very Hollywood style of song, which exoticized Brazil to the US audiences. This deepen both prejudice and stereotype (but also lead to misunderstanding of the true culture in Brazil).

(Edna Yang)

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Pelaez Lopez, "The Four Wounds of Latinidad"

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Pelaez Lopez, "The Four Wounds of Latinidad"

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1. Settlement

2. Anti-Blackness

3. Femicide, cont.

4. Inarticulation

(Edna Yang)

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-Artist and scholar

-She argues that, for black trans people's right

(Edna Yang)

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La Morena de Chicamocha, "Mata e' Pelo” 

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La Morena de Chicamocha, "Mata e' Pelo” 

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Technique: usage of Cumbia elements; Colombian folk music instruments

Purpose/ Impact: advocating for cultural pride, showing the culture to worldwide

(Edna Yang)

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music video has very strong colors

lyrics have a sexual theme

duet between male and female

melody is also very repetitive

（Edna Yang)

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some artists are very blatant about it, in the music video for the song "Muneca" they literally pull out a dildo