Abstract: This essay contributes to literature on the intersections of white settler colonialisms, racial capitalism, and U.S.-Mexico borderlands history by tracing the web of spatial, temporal, and legal power relations that produced El Paso, Texas’ seemingly legitimate possession of stolen Mexican territory known as “El Chamizal” in the El Paso-Cd. Juárez borderlands. This land theft became the Chamizal Dispute: an international land and boundary conflict between the U.S. and Mexico caused by the meandering Río Grande that defines the “fixed” international border between El Paso, Texas and Cd. Juárez, Chihuahua. In the 1860s, multiple shifts in the Rio Grande “relocated” El Chamizal north of this river/boundary. Soon thereafter, and despite Mexico’s sustained claim to and jurisdiction over this land, recently arrived Anglo American settlers incorporated El Chamizal into the nascent City of El Paso. In 1964, the U.S.and Mexico finally agreed to resolve this conflict by virtue of the landmark Chamizal Treaty, which ceded 630-acres of El Paso to Cd. Juárez as El Chamizal. Contrary to what dominant state accounts and the mainstream historical literature on this settlement would have us believe, however, this ceded land includes only a fraction of the original contested terrain. El Chamizal therefore remains a stolen tract of land nestled within the heart of El Paso. Drawing on oral histories, court testimonies and affidavits, and an array of binational records, this essay demonstrates that this ongoing theft is not a finite or complete project. Rather, the process hinges on a fragile web of spatial, white settler temporal, and legal practices of concealment/denial anchored to a colonial rumor that refuses to open this region to the mystery and wonder of the Río Grande’s “wayward life, beautiful experiment in how to live.


Abstract: This chapter traces the development of theorizing race beginning with/in community curricula that showed how race was lived and experienced. It then follows the displacement of this knowledge to a predominantly white space where race was learned in “contrast”, and, ultimately, how living and learning in a red state amidst the rise of white nationalist politics necessitated new approaches. The author discusses settler colonialism as an overarching frame serving as a progenitor and incubator of racialization schemes and structuring politics. These theorizations and engagements with Critical Race Theories and Settler Colonial Studies—namely, that whiteness functions as property and that property/ownership shapes citizenship and sovereignty—necessitate a focus on communities that most benefit from white supremacy and settler colonialism. The author then discusses a “tracking” approach to research as a way of uncovering settler tracks. By “tracking” settler/racial (re)production via schools, the author engages in research and theorizing of race/politics where damage is focused away from Black, Indigenous, and other communities of color and onto settlerness and its resultant political investments. In doing so, we can better work towards unsettling civic education and education writ large.




Abstract: In this essay I develop a relational analysis placing Asian and Latin American racial discourses into conversation. My analysis here seeks to grasp with greater clarity the discrepant ways that Blackness, Indigeneity, and Asian identities are articulated in distinctly and distantly elaborated nation-building projects through mestizaje—a Philippine mestizaje and one originating in Mexico. I move us through an analysis of both Pedro A. Paterno’s ethnological study on Indigenous Philippine Blackness, Los Itas (1915), and José Vasconcelos’s La raza cósmica (1925) as part of a global mestizo archive that is situated in the longue durée of the nineteenth century. The Aetas (or Itas), also commonly known by the Spanish term “Negritos,” are a community of phenotypically Black peoples that inhabit the mountainous regions of the northern Philippines in the island group known as Luzon. They have been a well-known community in the historical and cultural construction of Filipino racial identity. I examine the ways that the Aetas offered evidence of a Blackness that was transformed into a marker indexing the retrogression and development of the “Orient.” The dyad of civilization and barbarism in the Philippines pivoted on the dialectical antinomy of the Orient and Blackness. While the Philippines was not a site of and was far-removed from the transatlantic world, the physical darkness and qualitative Blackness of Indigenous peoples in the Philippines, the Indian subcontinent, and the Antipodes braid together the logics of Orientalism and Blackness in ways that are of interest to a transnational vista of race. This gesture of theoretical braiding of racial logics seemingly more germane to the Atlantic world with racial discourse in the Philippines invites questions on the ways that Blackness and Indigeneity in US-based and Latin American scholarship are treated. In the final analysis, I argue that through the comparison of these different mestizajes that the Asian political subject formation breaks from Indigeneity through the disarticulation of both Asianness and Indianness from Blackness. However, Blackness, as I’ll explore, counterintuitively serves as a foundational heuristic device articulating Philippine racial identity through the prism of settler-native encounter. In my view, the racial scientific basis for Philippine racial identity being rooted in a conquest narrative of Malays conquering Indigenous “Filipinos” whose primitivity is indexed by Blackness has the potential to greatly reshape Philippine and Filipinx historiographies of race. This case study, I argue, provides compelling historical paradigms for thinking creatively and in coalition across Asian American, Latinx, Black, and Indigenous community and political formations in the present.





Abstract: This article examines the Swedish fantasy‐horror‐romance film Gräns (Border, dir. Ali Abbasi, 2018) through queer Indigenous thought and the notion of trans aesthetics, exploring how the film may sensitize its viewers to seeing and feeling with gender variance, queer desire, and the trauma of settler colonialism. Drawing on Eve Tuck’s call for desire‐based research, the article asks what is at stake in queer, trans, and decolonial readings of films that are not necessarily identifiable as such at the surface level. Border centers on a love story between two gender‐fluid trolls who pass as human and whose kin have been subjected to genocide, dislocation, and mutilation, but the film’s reception largely misses the connection to the treatment of Indigenous Sámi people and transgender people within Nordic settler states. The article argues that Border‘s ecstatic depiction of gender‐fluid desires, bodies, and sex, alongside its examination of the psychic consequences of settler colonial violence, make it a thus far unique film in the Nordic context — even though this examination happens through the distancing effect of trolls as metaphorical Natives. The main characters embody wrongness in the settler nation‐state, in heteronormative society, and ultimately in the delimiting category of the human, but the film imagines rightness in nature as a queer, gender‐fluid space where all creatures can just be. Through employing notions of trans aesthetics, the (non)sovereign erotic, refusal, and haunting, the article proposes desire‐based readings of cinema that envision ways of feeling and existing beyond humancentric, settler, binary notions of gender and sexuality.