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Comm. 100 W. Cruz, Autoethnography on Racism

Comm. 100 W. Cruz, Autoethnography on Racism - Qualitative...

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http://qix.sagepub.com Qualitative Inquiry DOI: 10.1177/1077800406286222 2006; 12; 589 Qualitative Inquiry Mariolga Reyes Cruz Identity, and Memory Mis Muertos Están Conmigo [My Dead Are With Me]: An Autoethnographic Text on Racialization, http://qix.sagepub.com/cgi/content/abstract/12/3/589 The online version of this article can be found at: Published by: http://www.sagepublications.com can be found at: Qualitative Inquiry Additional services and information for http://qix.sagepub.com/cgi/alerts Email Alerts: http://qix.sagepub.com/subscriptions Subscriptions: http://www.sagepub.com/journalsReprints.nav Reprints: http://www.sagepub.com/journalsPermissions.nav Permissions: © 2006 SAGE Publications. All rights reserved. Not for commercial use or unauthorized distribution. by SJO TEMP 2008 on December 17, 2007 http://qix.sagepub.com Downloaded from
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10.1177/1077800406286222 Qualitative Inquiry Reyes Cruz / An Autoethnographic T ext Mis Muertos Están Conmigo [My Dead Are With Me] An Autoethnographic Text on Racialization, Identity, and Memory Mariolga Reyes Cruz Universidad de Puerto Rico en Cayey In this autoethnographic text, the author explores multiple voices that have shaped her racialized identity throughout her life across various sociohistorical-personal contexts. As a performance text, it challenges static categorical notions of identity by showing how identity processes are inter- twined with lived experiences of racialization, ethnicization, genderization, and the (re)interpretation of personal memories. Keywords: autoethnography; performance ethnography; Latino/a racial identity; Latino/a ethnic identity; immigration experience [This piece was written as an autoethnographic monologue. It explores the past as it lives through the reconstructed memories of the author. Suggestions for introducing other performers to represent images or enact other charac- ters in the story are provided.] [Amalia, a Puerto Rican migrant woman, is the main speaker.] [The scene is dimly lit. Amalia stands alone; there is a rocking chair in the background.] We were in the living room, in the house where my mother grew up, the green wood house that was later destroyed to make space for an office build- ing right next to the avenue that didn’t exist when my mother ran up and down the beautiful streets of Santurce, up and down the hill without ever get- ting too close to the beach. Grandma was stroking my hair, me sitting on the 589 Qualitative Inquiry Volume 12 Number 3 June 2006 589-595 © 2006 Sage Publications 10.1177/1077800406286222 http://qix.sagepub.com hosted at http://online.sagepub.com Author’s Note: The author would like to express her gratitude to Norman Denzin for opening a space where this text could come to be and to Julian Rappaport for his unremitting support. This piece is dedicated to the author’s mother who walks through life with her and to the women who recognize this story as their own.
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