By Thomas F. DeFrantz, Anita Gonzalez
Contributors. Melissa Blanco Borelli, Daphne A. Brooks, Soyica Diggs Colbert, Thomas F. DeFrantz, Nadine George-Graves, Anita Gonzalez, Rickerby Hinds, Jason King, D. Soyini Madison, Koritha Mitchell, Tavia Nyong'o, Carl Paris, Anna B. Scott, Wendy S. Walters, Hershini Bhana Young
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Sample text
Courtesy of the artist. African diaspora performance is read as a response to Euro-American or white frames of reference. This stance ignores the complex interplay of African descendants with other ethnic groups in the panorama of social identities. Jacqueline Nassy Brown simplifies this notion, asserting: “Diaspora is better understood as a relation rather than a condition” (38). The interplay of ethnic communities at each local site is what constitutes transnational experiences of diaspora (Fryer; Small; Nassy Brown).
Today, in the twenty-first century, Native American community members, who live in close prox26 / Anita Gonzalez imity to Afro-Mexican settlements, stage annual festival events in which they wear black masks to represent their darker-skinned neighbors. These dances, called Negritos, capture archetypal beliefs about the moral codes and behaviors of African descendants in Mexico. Within this psychological landscape, residues of blackness are assigned, appropriated, and utilized for social commentary.
Collectively, these acts of black performance demonstrate a flexible restaging of blackness that mediates the status of disempowered populations at each diaspora site. Notes 1. These volumes provide overviews of minstrelsy in the United States: Bean, Hatch, and McNamara; Hill and Hatch; Stearns and Stearns; and Woll. 2. Historians prominent in the field of Afro-Mexican studies who have documented maroon communities include Carroll, 90–92; Jiménez Román, 8–9; Palmer, Slaves of the White God, 128–30; Cruz Carretero, Martínez Maranto, and Santiago Silva, 11–41.
