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Identidad and Mejicanidad: Dance Transference through Mexican Folklórico, Azteca, and Flamenco Dance

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Please use this identifier to cite or link to this item: http://hdl.handle.net/1928/10413

Identidad and Mejicanidad: Dance Transference through Mexican Folklórico, Azteca, and Flamenco Dance

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dc.contributor.author Ocegueda, Erica
dc.date.accessioned 2010-02-19T20:29:27Z
dc.date.available 2010-02-19T20:29:27Z
dc.date.issued 2010-02-19T20:29:27Z
dc.date.submitted December 2009
dc.identifier.uri http://hdl.handle.net/1928/10413
dc.description.abstract Identidad and Mejicanidad examines cultural identity and dance through the lens of “owners,” “borrowers,” and “renters.” I examine how non-professional participants of these dance forms are beacons for cultural expression and serve to explore the fringe of the sense of cultural knowing through Mexican Folklórico, Azteca, and Flamenco dance. Through these dance forms I interrogate how cultural identity frames questions of authenticity and identity. Ownership of cultural identity and issues of authenticity are a source of ire for many underrepresented groups of people. Maintaining who is “in control” of a cultural expressions’ evolution is a common dispute. The legacy of colonization brought many owners, borrowers, and renters as practitioners of identity. These practitioners then become representative of the perceived fluid Mejicano identity, not only by outsiders, but by Mejicanos as well. Looking at the sum of the cultural dance parts of what is a Mejicano--Folklórico, Azteca, and Flamenco--creates an incomplete definition of what is a Mejicano. Mejicano cultural identity is deeper than the sum of its parts; it is an exponential growth that leads to a new hybrid of Mejicano identity. I argue this growth takes the owners, borrowers, and renters and places them at the head of identity evolution. The depth of influence that dance has on identity is comparable to how much consumers of culture think dance is relevant to our personal experiences. The integration of dance and its source material plays an insidious role on cultural development. The introduction of widely accepted cultural icons introduced by innocuous pop culture begins the formation of the adoption of cultural identity. This adoption presents the delineation of active “borrowing” or how cultural identity is awarded to us by birthright. In turn the award of this birthright represents an “ownership.” The “ownership” given by birthright is how we come to “own” cultural identity. en_US
dc.language.iso en_US en_US
dc.subject dance en_US
dc.subject flamenco en_US
dc.subject azteca en_US
dc.subject mexican folklórico en_US
dc.subject.lcsh Dance--Mexico--Social aspects
dc.subject.lcsh Folk dancing, Mexican--Social aspects
dc.subject.lcsh Group identity--Mexico
dc.title Identidad and Mejicanidad: Dance Transference through Mexican Folklórico, Azteca, and Flamenco Dance en_US
dc.type Thesis en_US
dc.description.degree Dance History and Criticism en_US
dc.description.level Masters en_US
dc.description.department University of New Mexico. Dept. of Theater and Dance en_US
dc.description.advisor Herrera, Brian Eugenio
dc.description.committee-member Enciñias-Sandoval, Eva
dc.description.committee-member Predock-Linell, Jennifer


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