Moving Borders and Dancing in Place: Son Jarocho’s Speaking Bodies at the Fandango Fronterizo: with Jade Power Sotomayor
Date: Tuesday, April 4th
Time: 4:00-5:30 pm
Location: UW1-280 (Rose Room)
No RSVP required. Free and open to the public.
This presentation examines the politics of movement at the Fandango Fronterizo, an annual bi-national son jarocho event that takes place on both sides of the Tijuana/San Isidro border. Dr. Power Sotomayor engages indigenous scholarship on embodied sovereignty to make sense of this embodied music making as a political gesture that challenges and defies the borders imposed by colonial powers. Furthermore, she examines the way that corporeal blackness circulates both as a contestation to the historical erasure of blackness in discourses about Mexico, as well as a valuable signifier of resistance and liberation that, sometimes troublingly so, relies on the construction of black difference and the further bordering of identities.
This presentation is part of a IAS' 3 talk series Research Colloqium. For more information please click HERE>>
Jade Power Sotomayor is an Assistant Professor in Interdisciplinary Arts at the University of Washington, Bothell. As a code-switching, hyphen-jumping, border-crossing, Cali-Rican educator, dancer, actor and scholar of performance, Dr. Power Sotomayor engages embodied practices of remembering and creating community as a lens for theorizing performative constructions of Latinidad. Her research focuses on epistemologies of the body, the intersections between race, gender and language, and on inter-cultural performance in the Latin Caribbean diaspora. Her book project ¡Habla!: Speaking Bodies in Latinx Dance and Performance examines what she calls the “speaking body” in various sites of performance (solo-performance, Puerto Rican bomba, Mexican son jarocho) and its relationship to the politics of race and ethnicity, to bilingualism and to communities of belonging as constituted through doing versus being. She has recently started research on the experiences of women of color who teach Zumba, and the dancing of a Latinidad that variously cites and appropriates brownness and blackness through complex circuits of embodied signification.