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Guzman Cornellgrad 0058F 11 ENTANGLED BORDERS: PERFORMANCE ON THE EDGE OF NATIONS IN HAITI AND THE DOMINICAN REPUBLIC A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Elena Herminia Guzman May 2019 © 2019 Elena Herminia Guzman ENTANGLED BORDERS: PERFORMANCE ON THE EDGE OF NATIONS IN HAITI AND THE DOMINICAN REPUBLIC Elena Herminia Guzman Ph.D. Cornell University 2019 Within the last 20 years over 70 border walls have been built around the world in the name of sovereignty and global security. Not only are border walls being built but the sovereign power these walls assume are expanding beyond their coordinates. As technological innovations rapidly develop, borders are hindering the movement of people across borders. Despite these technological innovations people continue to create strategies and tactics that reimagine and negotiate the borders of nations. This particular work is an ethnography of the border between Haiti and the Dominican Republic. This dissertation is based on 16 months of ethnographic research in Anse-à-Pitres, Haiti and Pedernales, Dominican Republic. My overall argument is that performance acts as a vehicle by which people subvert, solidify, and reimagine the borders of their nations. I explore how performances such as national celebrations of identity and the religious Lenten festivals of Rara on the border provide an avenue by which people perform the nations ideological and political borders. In Haiti and the Dominican Republic, these performances demonstrate the deep historical ties between the two countries that illuminate sites of collaboration within structures of anti- Haitianism and xenophobia. These entangled performances highlight the space between mobility and immobility in which people are able and unable to move across the border yet still have the ability to shape and mold those borders. BIOGRAPHICAL SKETCH Elena Herminia Guzman was born in Colorado and raised in New York City. She is a first-generation college student with deep roots in the lower east side (LES) of Manhattan and the Bronx. She attended CUNY Hunter College and majored in Anthropology with a minor in Africana Puerto Rican and Latino Studies (AFPRL). Her working-class background drew her to Anthropology and Ethnic studies as a way to understand the experiences she encountered as a Boricua from multiple diasporas living in New York. Immediately after obtaining her bachelor’s degree from Hunter College, Elena entered into the Ph.D. program at Cornell University in the Department of Anthropology to study Pan-Caribbean connections that occur through art and dance. These interests led her to study cross-border connections in Haiti and the Dominican Republic. Her research interests include Caribbean dance and music, feminist and activist practice, blackness in Latin America and the Caribbean, and ethnographic film. Her dissertation research focuses on Haitian and Dominican history, relations, and identity on the border of Hispaniola through performative spaces such as carnival and the spiritual practices of Rara and Gaga in Haiti and the Dominican Republic. Inspired by the traditions of Black feminist anthropologists such as Katherine Dunham, Zora Neale Hurston, and Pearl Primus, Elena is an advocate for public and creative anthropology. She uses film to reach broader audiences. Her visual work broadly looks at issues of representation in the African/Black Diaspora with a focus on narrative, portrait, and documentary film. This includes projects that explore identity in the African Diaspora such as hair salons in the Bronx, stigmas of mental health for iii Black communities, and racism and citizenship in Latin America. She was co-director of a documentary film entitled Bronx Lives which takes a narrative and auto- ethnographic approach to homelessness in New York City. She is a co-founder of Ethnocine Collective, a feminist filmmaking collective that is committed to a feminist and decolonial lens that push the boundaries of non-fiction film. iv To Asunción Elena Ruiz, Edwin Anthony Delgado and Kim Kayleigh Edwards Ashe v ACKNOWLEDGMENTS This dissertation was written during a tumultuous period in my life when I lost three loved ones over the span of 9 months: my beautiful abuelita Asunción Elena Ruiz, my brother Edwin Anthony Delgado, and my dear friend Kim Kayleigh Edwards. There were times I wanted to quit and retreat into the depths of grief, but it was their collective lives, strength, and light that kept me going. To them, I am forever grateful. Writing is often a solitary practice spent mulling around in coffee shops and library conference rooms, but this dissertation would not have been possible without the community of friends, family, mentors, and colleagues that propelled me forward. I'd be remiss if I didn't begin with where this all started. As a starry-eyed undergraduate at Hunter College, I stumbled into the office of Dr. Carol Oliver unsure of what the McNair program was or how I could go to graduate school when she looked me in the eye and said, "we need more Boricuas in the academy." I held onto that for many years and retrieved it whenever I felt an ounce of doubt. I thank Dr. Oliver, Dr. Rex Nobles, and the McNair program for guiding this first-generation college student into creating a path she didn’t know existed. The Mellon Mays Undergraduate Program also played a crucial part in my career both during undergraduate and graduate school. It is through these mentorship programs that I met Dr. Arlene Torres who became my mentor during undergraduate at Hunter College and little did I know would continue to guide and mentor me throughout graduate school. Mentorship like this is rare, and I do not take this for granted in any way. I give special thanks to my mentors at Cornell who guided and supported me throughout the years. I give much gratitude to my chair Viranjini Munasinghe for pushing me to think deeply about my project and always finding a way to spark the intellectual fires that often faded out. I am especially grateful to my advisor Oneka LaBennett who guided me intellectually, academically, and professionally and served as an example of a Black woman doing important work inside and outside the academy. I thank Ernesto Bassi for providing insightful and compelling feedback on my work as I reached the final stages of dissertation and strengthening my background as a Caribbean scholar. I am grateful for the sage advice that Elizabeth McAlister provided to my work on Rara and Haiti both during my fieldwork and during the writing stage. I would also like to acknowledge other professors who contributed much to my intellectual and academic journey including Vilma Santiago-Irizarry and Margo Crawford. Thank you for guiding me and being a part of my journey. Your contributions to my career remain vital to this work. Graduate school would’ve been quite difficult if it weren’t for the folks of color who made my success their success and provided me opportunities while also guiding my academic and artistic journey. I thank colleagues, professors, and administrators who guided me with the understanding and compassion needed for a first-generation student of color from a working-class background that didn’t always have the vi resources to succeed for this degree. I also thank my writing group for giving me detailed feedback on many of the chapters in this dissertation: Emily Hong, Joshua Savala, Kyle Harvey, and Youjin Brigitte Chung. A special thank you to my friends and colleagues at LGSC and the other student of color groups that provided me community. I want to give a special thanks to my cohort who became family: Emily Hong, Laura Menchaca Ruiz, Mariangela Mihai, Ray Pineda, and Ting Lau. I love you all! When I conducted fieldwork in Haiti it was the first time I lived abroad, and I am thankful to the people who made Anse-à-Pitres, Haiti feel like home. Chapo ba to Ylly Momplaisir who was foundational in connecting me to various people in the community and providing a community beyond what I could imagine. Thank you to my dear friend Sonald for being my research associate and friend and helping me navigate Haiti and the Dominican Republic. I am also grateful to Younice Laurent, Jean Rony Jean Pierre, and Delince Cenat for all of their help in connecting me to various people in the community. A special thank you to Feeling Rara for accepting me as a part of your community. This work was supported by the Cornell Provost Diversity Fellowship and the Mellon Mays Woodrow Wilson Dissertation writing fellowship. I would also like to extend thanks to Michael Martin and the Center for Latin American and Caribbean Studies at Indiana University Bloomington for extending me the opportunity to be a visiting scholar as I was writing my dissertation. Additionally, thank you to the Institute for Advanced Study at Indiana University Bloomington for providing me a space to write. I also thank Denisa Jashari and Ricardo Higelin Ponce de León for letting me join their writing group and pushing me through my last year of writing. And last but not least thank you to my family for being my rock and the thing that always grounded me. This is for us. ¡Siempre Pa’lante! vii TABLE OF CONTENTS ABSTRACT…………….…………………...….…………………………………......ii BIOGRAPHICAL SKETCH ..................................................................................... iii ACKNOWLEDGMENTS ..........................................................................................
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