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Yessica Garcia Hernandez

Yessica Garcia Hernandez is a doctoral candidate and filmmaker in the Department of Ethnic Studies at the University of California San Diego. Her scholarship bridges fan studies, sound studies, women of color feminisms, fat studies, girl studies, and sexuality/porn studies to think about intergenerational fans of Mexican regional music. Yessica earned her B.A. in Chicanx Studies from University of California, Riverside and an M.A. in Chicanx and Latinx Studies at California State University Los Angeles.

"Latinx AcaFans: Mapping out our Genealogies"
In this paper, I follow Rebecca Wanzo’s call to map out new genealogies that center people of color fans. I start by reviewing the work of scholars in the field of Latinx popular culture studies who also center fans but whose work is often disregarded by the field. Alike Wanzo, I argue that many of these Latinx popular culture critics are also acafans although they do not use that word to identity as such. These scholars include people like Americo Paredes’ work on corridos (1958), Frances Aparicio’s work on Salsa music (1999), Michelle Habell Pallan’s work on Chicana Punk music (2005), Deborah Paredez’s work on Selena Quintanilla (2009), Deborah Vargas’ work on Chicana Tejana music (2014), Jose Anguiano and Mellissa Mora Hidalgo’s work on Morrisey (2014; 2015) and Eddy Alvarez’s work on Gloria Trevi. Mapping out these new genealogies of fan studies is crucial because it allows me to complicate the way Latinx fans negotiate the history of excessiveness that the etymology of the word “fan” carries. Since the focus of my own work is Mexicana/Chicana/Latina women fans, I am interested in exploring the politics of excessiveness that the literature of Latina sexuality also has to offer us in fan studies. This literature makes visible that akin to Black women, Latinas are “discursively constructed as always completely other to Western normativity” (Wanzo, 2015). Bridging these fields together allows me to argue that fandom and anti-fandom towards Latina music celebrities and fans cannot be separated from the process of racialization that they have been inscribed to by histories of colonialism, xenophobia, and anti-immigrant sentiments. Thus, centering Latina fans forces us to acknowledge the “dialectical relationship to normativity” that is not acknowledged by fan studies but can no longer be ignored (Wanzo, 2015).