Über die Autorin bzw. den Autor

Josh Kun is a professor in the Annenberg School for Communication and Journalism and the Department of American Studies and Ethnicity at the University of Southern California. He is the author of Audiotopia: Music, Race, and America and coeditor of Sound Clash: Listening to American Studies.

Fiamma Montezemolo is an anthropologist and artist currently teaching in the Department of Art Practice at the University of California, Berkeley. She is the author of Faceless: Ethnicity and Gender in the Zapatista Movement and a co-author of Here Is Tijuana! Iain Chambers teaches cultural and postcolonial studies at the Orientale University of Naples. He is the author, most recently, of Mediterranean Crossings: The Politics of an Interrupted Modernity, also published by Duke University Press.

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TIJUANA DREAMING

DUKE UNIVERSITY PRESS

Contents

ACKNOWLEDGMENTS..................................................................................................................................................ixFOREWORD | A Line in the Sand Iain Chambers.....................................................................................................................1INTRODUCTION | The Factory of Dreams Josh Kun and Fiamma Montezemolo............................................................................................21ONE | Welcome Tu Tijuana Roberto Castillo.......................................................................................................................25TWO | Snapshots from and about a City Named Tijuana Humberto Félix Berumen.................................................................................47THREE | Tijuanologies | An Urban Essay Heriberto Yépez.....................................................................................................71FOUR | Globalization in Tijuana Maquiladoras | Using Historical Antecedents and Migration to Test Globalization Models Kathryn Kopinak..........................94FIVE | (Conversation with) Néstor García Canclini, on How Tijuana Ceased to Be the Laboratory of Postmodernity Fiamma Montezemolo.....................117SIX | Postcards from the Border | In Tijuana, Revolución Is an Avenue Santiago Vaquera-Vásquez........................................................136SEVEN | Illicit Acts of Urbanism René Peralta..............................................................................................................148EIGHT | The Transborder Metropolis in Question | The Case of Tijuana and San Diego Tito Alegría............................................................175NINE | Practices of Encroachment | Urban Waste Moves Southbound; Illegal Zoning Seeps into North Teddy Cruz.....................................................190TEN | Community of Struggle | Gender, Violence, and Resistance on the U.S.-Mexico Border Michelle Téllez...................................................212ELEVEN | La Canción de Tijuana / The Song of Tijuana Guillermo Fadanelli...................................................................................219TWELVE | ¿Todos somos ciudadanos? | Artistic Production and Agency in Tijuana Lucía Sanromán.....................................................240THIRTEEN | Bioethnography of an Artist | Ingrid Hernández Fiamma Montezemolo...............................................................................264FOURTEEN | Borderline Archaeology Jesse Lerner..................................................................................................................277FIFTEEN | Redefining Sodom | A Latter-Day Vision of Tijuana Jennifer Insley-Pruitt..............................................................................300SIXTEEN | Crossfader Playlist Rafa Saavedra.....................................................................................................................329SEVENTEEN | Counterculture, Rockers, Punks, New Romantics, and Mods in Tijuana Ejival...........................................................................339EIGHTEEN | Borderline Ghosts | From Touch of Evil to Maquilapolis: City of Factories Tarek Elhaik...............................................................355NINETEEN | The Kidnapped City Josh Kun..........................................................................................................................370TWENTY | The Line Luis Humberto Crosthwaite.....................................................................................................................375CONTRIBUTORS.....................................................................................................................................................381

Chapter One

    Welcome Tu Tijuana


    Ladies and Gentlemen
    Welcome to Tijuana,
    The most mythical place on earth,
    Where tongues love each other and unite
    In the "aló," the "oquei," the "babai" en the verb "tu bi";

    Where the free zone exists,
    The fayuca and the little gifts
    For the boss, the secretary,
    The horny friend, the wife
    And the unbearable children;

    Where the pizza boys in motorcycles,
    The cops, the taxi drivers,
    The narcojuniors and their buddies
    And the ladies with California license plates
    Don't respect lights or stop signs.

    Friends,
    Welcome to Tijuana,
    The city farthest from centralism,
    Where the clamatos and parties have flavor
    Where the junkyards and the muffler shops flower

    Where the blocks
    Are spaces for pharmacies
    Liquor stores, casas de cambio
    Taco stands, Oxxos everywhere
    And seafood restaurants

    Where the regional food
    Is carne asada and beer,
    The lobster and the fish tacos,
    The Caesar salad, the pizza
    And the Sunday Chinese food;

    Welcome to Tijuas
    The place with emergency architecture,
    Where the women are houses,
    Moles are offices
    And sombreros are restaurants;
    The marvelous space
    Where used tires
    Are transformed into steps,
    Into swings, into retaining walls,
    Pots or huarache soles;

    Where the department of tourism
    Thinks that the only important things are
    The Chapu towers, the Cecut ball, the plaza rio,
    The Jai Alai, the Revu and the minaret's plaza.

    Ladies and gentlemen,
    Welcome to Tiyei
    Where the cholos, surfers, and punks,
    Drug dealers, mercenaries and federal police
    Make leisure their business;

    Where politicians, businessmen,
    maquila bosses and customs agents,
    salesmen and money exchangers
    "loteros" and policemen,
    are the true illegals;

    Where the polka becomes cumbia,
    "norteño" becomes techno,
    "mofleros" are sculptors,
    paint ers are graffiti artists (taggers?)
...