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Disciplining <strong>the</strong> Ethnic <strong>Body</strong> 223<br />
desired by <strong>the</strong> bodies of racialized O<strong>the</strong>rs. Consequently, a relationship<br />
between a White male body and a female body of color, such as Latinas,<br />
is always consensual because under this particular political economy of<br />
sexuality a woman of color would desire a White man. However, a White<br />
woman cannot desire <strong>the</strong> racialized O<strong>the</strong>r, so <strong>the</strong>se relationships are<br />
nearly always portrayed as sexually violent and nonconsensual. Within<br />
this discursive formation, Latino men do not generally interact sexually<br />
with Anglo women unless it is to threaten or enact forced sexual violence<br />
or rape, as in <strong>the</strong> Pancho Villa fi lms. This common representational<br />
practice affi rms <strong>the</strong> social order by disciplining Latina bodies as a<br />
symbolic site through which culture is biologically and symbolically<br />
negotiated, contested, opposed, and eventually homogenized through<br />
global commodifi cation (Beltrán, 2002; Guzmán, 2005).<br />
Moreover and signifi cantly in relation to Frida Kahlo—narratives of<br />
au<strong>the</strong>nticity and Latinidad more often than not hark back to <strong>the</strong> mo<strong>the</strong>r<br />
continent, to Latin America. As such, U.S. Latina and Latinos are never<br />
quite au<strong>the</strong>ntic, anywhere, because <strong>the</strong> boundaries of <strong>the</strong> body are<br />
policed by multiple cultures. Thus Frida Kahlo functions as a powerful<br />
signifi er of identity because she is often articulated within <strong>the</strong> narrative of<br />
“The Mo<strong>the</strong>rland.” Within <strong>the</strong> narrative of <strong>the</strong> mo<strong>the</strong>rland, Eurocentric<br />
discourses of au<strong>the</strong>nticity, which erase indigenous, African, and o<strong>the</strong>r<br />
non-White populations, hark back to Spain, a place often constructed as<br />
<strong>the</strong> site of whiteness despite its history of African Moorish occupation.<br />
Not coincidentally, Penélope Cruz is identifi ed in surveys of U.S. Latina<br />
and Latinos as more Latina, more au<strong>the</strong>ntic, and more beautiful than<br />
ei<strong>the</strong>r Hayek or Lopez. Somewhat oppositionally, compared to Lopez<br />
whose body is articulated as raw natural energy, Cruz is linked to civility<br />
and sophistication (Valdivia, 2007). These narratives of au<strong>the</strong>nticity<br />
and origin privilege a mythical nostalgic racially pure Spain that, in a<br />
discursively productive manner, proves to be untenable and like o<strong>the</strong>r<br />
discourses of purity produces hierarchies of essentialist fragmentation.<br />
Governing Racial-O<strong>the</strong>rness in Popular Culture<br />
Despite <strong>the</strong>ir ability to destabilize racial categories, Latina bodies are<br />
traversed, mobilized, and eventually normalized by <strong>the</strong> interconnected<br />
discourse of fear and desire. At <strong>the</strong> level of fear and disciplinarity, <strong>the</strong><br />
imagined hypersexuality and hyperfertility of Latina (not Latino) bodies<br />
function as a threat to racially grounded defi nitions of national identity.<br />
At <strong>the</strong> level of desire and surveillance, Latina bodies are purveyed and<br />
sought as <strong>the</strong> sexually profi cient exotic o<strong>the</strong>r. Fur<strong>the</strong>rmore, Acosta and<br />
Kreshel (2002) stress <strong>the</strong> contradictory nature of this racialized and