Geographies of Relation: Diasporas and Borderlands in the Americas

Delgadillo, Theresa

doi:doi:10.3998/mpub.12707498

Geographies of Relation: Diasporas and Borderlands in the Americas

Theresa Delgadillo

Open Access

Geographies of Relation offers a new lens for examining diaspora and borderlands texts and performances that considers the inseparability of race, ethnicity, and gender in imagining and enacting social change. Theresa Delgadillo crosses interdisciplinary and canonical borders to investigate the interrelationships of African-descended Latinx and mestizx peoples through an analysis of Latin American, Latinx, and African American literature, film, and performance.

Not only does Delgadillo offer a rare extended analysis of Black Latinidades in Chicanx literature and theory, but she also considers over a century's worth of literary, cinematic, and performative texts to support her argument about the significance of these cultural sites and overlaps. Chapters illuminate the significance of Toña La Negra in the Golden Age of Mexican cinema, reconsider feminist theorist Gloria Anzaldúa's work in revising exclusionary Latin American ideologies of mestizaje, delve into the racial and gender frameworks Sandra Cisneros attempts to rewrite, unpack encounters between African Americans and Black Puerto Ricans in texts by James Baldwin and Marta Moreno Vega, explore the African diaspora in colonial and contemporary Peru through Daniel Alarcón's literature and the documentary Soy Andina, and revisit the centrality of Black power in ending colonialism in Cuban narratives. Geographies of Relation demonstrates the long histories of networks and exchanges across the Americas as well as the interrelationships among Indigenous, Black, African American, mestizx, Chicanx, and Latinx peoples. It offers a compelling argument that geographies of relation are as significant as national frameworks in structuring cultural formation and change in this hemisphere.

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Published: 2024

Publisher: University of Michigan Press

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978-0-472-05693-4 (paper)
978-0-472-07693-2 (hardcover)
978-0-472-90457-0 (open access)

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A screenshot of a WorldCat Identities webpage with statistics on Toña la Negra. A graph shows publications both by, and about Toña la Negra between 1920 and 2016.

World Cat Identities generated graph of publications by and about Toña La Negra

From Chapter 1

Figure 1. WorldCat Identities–generated graph of publications by and about Toña La Negra, accessed 8 July 2021.

A black and white photograph of Toña La Negra at a microphone on the stage of Station XEW with Rafael Hernandez on her left and Wello Rivas on her right. A crowd is seated in the background, including a piano and string section.

Toña La Negra accompanies Rafael Hernandez on his February 12, 1943 debut on Station XEW with Wello Rivas

From Chapter 1

Figure 2. Toña La Negra accompanies Rafael Hernandez on his February 12, 1943, debut on Station XEW with Wello Rivas. Photo courtesy of the Archivo General de la Nación, Mexico City: Fondo Enrique Díaz, Delgado y García, Cronológico, Programas y Estaciones de Radio, EDDG8419.

A black and white film still features a multiracial man and woman seated at the Siete Mares Club in Konga roja. They are both holding full mugs of beer and the man in the hat has his arm around the woman.

Multiracial working-class patrons of the Siete Mares Club in Konga roja (1943, Dir. Alejandro Galindo). Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 3. Multiracial working-class patrons of the Siete Mares Club in Konga roja (1943, dir. Alejandro Galindo). Photo courtesy of the Colección Filmoteca UNAM.

A black and white film still from Konga roja, depicts Marta the Mulata, played by Toña la Negra on the left, and Rosa, played by Maria Antoineta Pons, on the right. In the background are gourds, pictures of saints, and a beaded room divider with the Mexican coat of arms imprinted on it.

In Konga roja (1943, Dir. Alejandro Galindo), Marta the Mulata, played by Toña La Negra on the left and Rosa, played by Maria Antoineta Pons, on the right. Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 4. In Konga roja, Marta the Mulata, played by Toña La Negra, on the left and Rosa, played by Maria Antoineta Pons, on the right. Photo courtesy of the Colección Filmoteca UNAM.

A black and white photograph of Toña la Negra appearing in traditional Veracruz dress in Humo en los ojos.

Toña La Negra appearing in traditional Veracruz dress in Humo en los ojos (1946, Dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 5. Toña La Negra appearing in traditional Veracruz dress in Humo en los ojos (1946, dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

A black and white photograph of Toña la Negra wearing Caribbean-style dress on stage with Son Clave de Oro in the role of Marta the Mulata in the film Konga roja.

Toña La Negra on stage with Son Clave de Oro in the role of Marta the Mulata in the film Konga roja. Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 6. Toña La Negra on stage with Son Clave de Oro in the role of Marta the Mulata in the film Konga roja.

A black and white photograph of Toña la Negra performing with Pedro Vargas and Agustín Lara at the piano in the movie Revancha. She wears an elegant gown with butterlies-onsquares print.

Toña La Negra performing with Pedro Vargas and Agustín Lara at the piano in Revancha (1948, Dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 7. Toña La Negra performing with Pedro Vargas and Agustín Lara at the piano in Revancha (1948, dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

A black and white photograph of Toña la Negra in an all-white version of traditional Veracruzan costume in En carne viva. She is on stage surrounded by musicians.

Toña La Negra in an all-white version of traditional Veracruzan costume in En carne viva (1950, Dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 8. Toña La Negra in an all-white version of traditional Veracruzan costume in En carne viva (1950, dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

A black and white photograph of Toña la Negra in a glamorous black satin gown with white wrap as she performs in a nightclub scene.

Toña La Negra in a glamorous black satin gown with white wrap as she performs in a nightclub scene from Amor de la calle (1949, dir. Ernesto Cortázar). Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 9. Toña La Negra in a glamorous black satin gown with white wrap as she performs in a nightclub scene from Amor de la calle (1949, dir. Ernesto Cortázar). Photo courtesy of the Colección Filmoteca UNAM.

A black and white photograph of Toña la Negra in sequined gown in Amor de la calle.

Toña La Negra, wearing sequined gown, in nightclub scene from Amor de la calle (1949, Dir. Ernesto Cortázar). Photo courtesy of the Colección Filmoteca UNAM.

From Chapter 1

Figure 10. Toña La Negra, wearing sequined gown, in nightclub scene from Amor de la calle. Photo courtesy of Colección Filmoteca UNAM.

A black and white photograph of Toña la Negra in a 1970s concert appearance in the park.

Toña La Negra concert appearance in the park. Photo courtesy of the Archivo General de la Nación, Mexico City, Mexico. Fondo Hermanos Mayo, Alfabético Artistas 1a. Parte, Toña La Negra, HMAA1236.

From Chapter 1

Figure 11. Toña La Negra concert appearance in the park. Photo courtesy of the Archivo General de la Nación, Mexico City. Fondo Hermanos Mayo, Alfabético Artistas 1a. Parte, Toña La Negra, HMAA1236.

An film still showing Cynthia Paniagua in Soy Andina taking her final exam in practice of Afro-Peruvian dance in Lima.

Cynthia Paniagua, in Soy Andina (2007, Dir. Mitch Teplitsky), takes her final exam in Afro-Peruvian dance at the Escuela Nacional Superior de Foklore José María Arguedas in Lima.

From Chapter 4

Figure 12. Cynthia Paniagua takes her final exam in Afro-Peruvian dance at the Escuela Nacional Superior de Foklore José María Arguedas in Lima. From the documentary film Soy Andina (2007, dir. Mitch Teplitsky).

A still from a film showing drummers set up on sidewalk in front of the Ballumbrosio home for performance with the elder Ballumbrosio on the far right.

The elder Amador Ballumbrosio (on the far right) watches and listens as drummers play for dancers in El Carmen, Peru. From the documentary film Soy Andina (2007, Dir. Mitch Teplitsky).

From Chapter 4

Figure 13. The elder Amador Ballumbrosio (on the far right) watches and listens as drummers play for dancers in El Carmen, Peru. From the documentary film Soy Andina (2007, dir. Mitch Teplitsky).

An still image from film showing young girls performing traditional Afro-Peruvian dance at Ballumbrosio family studio in a room surrounded with photos from family history.

Girls perform traditional Afro-Peruvian dance at the Ballumbrosio family studio surrounded with photos from family history. From the documentary film Soy Andina (2007, Dir. Mitch Teplitsky).

From Chapter 4

Figure 14. Girls perform traditional traditional Afro-Peruvian dance at the Ballumbrosio family studio surrounded with photos from family history. From the documentary film Soy Andina (2007, dir. Mitch Teplitsky).

An still image from film showing Cynthia Paniagua being instructed in Afro-Peruvian dance while visiting Ballumbrosio family studio as neighbors watch.

Cynthia Paniagua takes a lesson in Afro-Peruvian dance from Maribel Ballumbrosio. From the documentary film Soy Andina (2007, Dir. Mitch Teplitsky).

From Chapter 4

Figure 15. Maribel Ballumbrosio teaches Afro-Peruvian dance to Cynthia Paniagua. From the documentary film Soy Andina (2007, dir. Mitch Teplitsky).

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Geographies of Relation: Diasporas and Borderlands in the Americas

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World Cat Identities generated graph of publications by and about Toña La Negra

Toña La Negra accompanies Rafael Hernandez on his February 12, 1943 debut on Station XEW with Wello Rivas

Multiracial working-class patrons of the Siete Mares Club in Konga roja (1943, Dir. Alejandro Galindo). Photo courtesy of the Colección Filmoteca UNAM.

In Konga roja (1943, Dir. Alejandro Galindo), Marta the Mulata, played by Toña La Negra on the left and Rosa, played by Maria Antoineta Pons, on the right. Photo courtesy of the Colección Filmoteca UNAM.

Toña La Negra appearing in traditional Veracruz dress in Humo en los ojos (1946, Dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

Toña La Negra on stage with Son Clave de Oro in the role of Marta the Mulata in the film Konga roja. Photo courtesy of the Colección Filmoteca UNAM.

Toña La Negra performing with Pedro Vargas and Agustín Lara at the piano in Revancha (1948, Dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

Toña La Negra in an all-white version of traditional Veracruzan costume in En carne viva (1950, Dir. Alberto Gout). Photo courtesy of the Colección Filmoteca UNAM.

Toña La Negra in a glamorous black satin gown with white wrap as she performs in a nightclub scene from Amor de la calle (1949, dir. Ernesto Cortázar). Photo courtesy of the Colección Filmoteca UNAM.

Toña La Negra, wearing sequined gown, in nightclub scene from Amor de la calle (1949, Dir. Ernesto Cortázar). Photo courtesy of the Colección Filmoteca UNAM.

Toña La Negra concert appearance in the park. Photo courtesy of the Archivo General de la Nación, Mexico City, Mexico. Fondo Hermanos Mayo, Alfabético Artistas 1a. Parte, Toña La Negra, HMAA1236.

Cynthia Paniagua, in Soy Andina (2007, Dir. Mitch Teplitsky), takes her final exam in Afro-Peruvian dance at the Escuela Nacional Superior de Foklore José María Arguedas in Lima.

The elder Amador Ballumbrosio (on the far right) watches and listens as drummers play for dancers in El Carmen, Peru. From the documentary film Soy Andina (2007, Dir. Mitch Teplitsky).

Girls perform traditional Afro-Peruvian dance at the Ballumbrosio family studio surrounded with photos from family history. From the documentary film Soy Andina (2007, Dir. Mitch Teplitsky).

Cynthia Paniagua takes a lesson in Afro-Peruvian dance from Maribel Ballumbrosio. From the documentary film Soy Andina (2007, Dir. Mitch Teplitsky).

Geographies of Relation: Diasporas and Borderlands in the Americas

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