1. I have changed the names of most people and places. I use the real names of public and
well-known ﬁgures (i.e., Carmen Nelson, Liliana Valle, Albert Torres, and Edie “the
2. A dance associated with the Garinagu culture on the Caribbean coast of Belize,
Nicaragua, and Honduras.
3. See Ana López (1997) for an analysis of the historical relationship between Hollywood
ﬁlms and latinidad.
4. I identify the people who made these comments only as “non-salseras/os” and not
as individuals because several patrons across clubs made these same or similar state-
ments. “No bailo salsa, bailo cumbia!” means “I don’t dance salsa, I dance cumbia!”
5. See Deborah Root (1998: 30) for a discussion of violence as a trope of exoticism.
6. For works on women’s employment of their own racialized eroticism, please see
Parreñas Shimuzu (2007), Cooper (2005), and Kempadoo (2004).
7. For an analysis of the hypersexualization of Latinas, please see Aparicio and Chávez-
Silverman (1997). For work on the circulation of Latinas in popular culture, please see
Peña Ovalle (2011), Mendible (2007), and Molina Guzmán and Valdivia (2004).
8. For more on native ethnographers, please see Narayan (1997).
9. All by yourself (as an unaccompanied woman).