Citation

Days of Troy: A Retrospective Ethnography of Oppositional Performance in Los Angeles' Troy Cafe, 1990-95

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Abstract:

Following the thunderstorm of neo-conservative retort during the Reagan years, California experienced a significant economic, social, demographic and political swing. The emergent hegemony of racialized neo-liberalism in the state was solidified as Pete Wilson rode the tide of civil society’s balanced-budget conservatism, law-and-order, and anti-immigrant forces straight into the corridors of government. What resulted from this maneuver was a radical restructuring of social services and the economy, a limiting of political possibilities and the enclosure of cultural production. The realities of Los Angeles in the early 1990s reflect these historical shifts. In the context of this moment, this paper will reveal the untold histories of subversion in Los Angeles through Troy Café between 1990-1995. I suggest that, in relation to the historical correlation of racist and reactionary forces in the region, Troy Café served as an autonomous space for the production and circulation of subjugated knowledges, alternative imaginaries and new social relations. Specifically, through the comedy of Chicano Secrete Service, the music of Las Tres, and the visual art of Diane Gamboa, Troy Café provided a cacophony of Chicana/o counter-narratives to the unfolding events of the 1992 Los Angeles Rebellion, Proposition 187, the censoring of representation by the National Endowment of the Arts, urban deindustrialization, NAFTA, and the racialized political orchestrations of the dominant classes. Employing a Chicana/o cultural studies approach, I will interrogate the cultural practices of the marginalized avant-guard artists who congregated in Troy Café as “oppositional performances.” I will argue that the site of these oppositional performances were positioned within the interstitial spaces of the historical bloc, within the cracks of the political order, as a trench in the performance/media bloc that gives symbolic shape and meaning to the resistance of hegemony. This paper presents a concrete historical example of how the “uses” of culture become a real historical force for subaltern subjects struggling for hegemony from below.
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Name: American Studies Association Annual Meeting
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http://www.theasa.net


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URL: http://citation.allacademic.com/meta/p245220_index.html
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MLA Citation:

Carrasco, Thomas. "Days of Troy: A Retrospective Ethnography of Oppositional Performance in Los Angeles' Troy Cafe, 1990-95" Paper presented at the annual meeting of the American Studies Association Annual Meeting, Hyatt Regency, Albuquerque, New Mexico, Oct 16, 2008 <Not Available>. 2014-11-30 <http://citation.allacademic.com/meta/p245220_index.html>

APA Citation:

Carrasco, T. , 2008-10-16 "Days of Troy: A Retrospective Ethnography of Oppositional Performance in Los Angeles' Troy Cafe, 1990-95" Paper presented at the annual meeting of the American Studies Association Annual Meeting, Hyatt Regency, Albuquerque, New Mexico <Not Available>. 2014-11-30 from http://citation.allacademic.com/meta/p245220_index.html

Publication Type: Conference Paper/Unpublished Manuscript
Abstract: Following the thunderstorm of neo-conservative retort during the Reagan years, California experienced a significant economic, social, demographic and political swing. The emergent hegemony of racialized neo-liberalism in the state was solidified as Pete Wilson rode the tide of civil society’s balanced-budget conservatism, law-and-order, and anti-immigrant forces straight into the corridors of government. What resulted from this maneuver was a radical restructuring of social services and the economy, a limiting of political possibilities and the enclosure of cultural production. The realities of Los Angeles in the early 1990s reflect these historical shifts. In the context of this moment, this paper will reveal the untold histories of subversion in Los Angeles through Troy Café between 1990-1995. I suggest that, in relation to the historical correlation of racist and reactionary forces in the region, Troy Café served as an autonomous space for the production and circulation of subjugated knowledges, alternative imaginaries and new social relations. Specifically, through the comedy of Chicano Secrete Service, the music of Las Tres, and the visual art of Diane Gamboa, Troy Café provided a cacophony of Chicana/o counter-narratives to the unfolding events of the 1992 Los Angeles Rebellion, Proposition 187, the censoring of representation by the National Endowment of the Arts, urban deindustrialization, NAFTA, and the racialized political orchestrations of the dominant classes. Employing a Chicana/o cultural studies approach, I will interrogate the cultural practices of the marginalized avant-guard artists who congregated in Troy Café as “oppositional performances.” I will argue that the site of these oppositional performances were positioned within the interstitial spaces of the historical bloc, within the cracks of the political order, as a trench in the performance/media bloc that gives symbolic shape and meaning to the resistance of hegemony. This paper presents a concrete historical example of how the “uses” of culture become a real historical force for subaltern subjects struggling for hegemony from below.


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