Friday, January 3, 2020
The, Mexican Feminist Theorist Gloria Anzladua s An...
In Borderlands/La Frontera, Mexican Feminist theorist Gloria Anzladuaââ¬â¢s introduces an analytical framework for considering the relationship between minority faces, spaces, and languages as they compete, interact and inform Americaââ¬â¢s institutionalized whiteness. While her book specifically deals with the ââ¬Å"minority facesâ⬠of Mexican immigrants, the epigraph suggests, racial minorities who interact with historically white spaces cross a ââ¬Å"borderâ⬠that is at once culturally and linguistically metaphoric, and physically literal. Thus, Anzalduaââ¬â¢s frame of the ââ¬Å"borderâ⬠suggests that minority experience is a product of cultural collisionââ¬âor ââ¬Å"choqueâ⬠ââ¬âthat occurs as they enter into white spaces and are forced to mediate their lived experience with their new surroundings (Anzaldua, 28). This paper will use Anzalduaââ¬â¢s theoretical lens of ââ¬Å"the borderâ⬠to contextualize conversations of music and culture pertaining to American slavery. Anzalduaââ¬â¢s work differentiates between the ââ¬Å"borderâ⬠as a geographical space and the ââ¬Å"Borderâ⬠that is the intellectual and culture production that happens in the aforementioned geographical space (Anzaldua, 9). As such, I seek to historically and racially broaden Anzalduaââ¬â¢s lens in order to define the plantation as the ââ¬Å"borderâ⬠and the culture and music as the ââ¬Å"Borderâ⬠when analyzing American slavery. As American slaves physically border their masters, they navigate the cultural and political borders between Slavery and Freedom. One such cultural formation of
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