Aveneu Park, Starling, Australia

Borderlands induction into both of these halls

Borderlands is a
concept that does not have to be seen to be considered borders and can often be
placed subconsciously by ourselves. These borderlands are unsettled and unclear
and are consistently changing. The famous singer Rosita Fernández was born in Mexico but spent the majority of her life
in San Antonio performing music. Rosita’s popularity was prevalent in the San
Antonio music scene and eventually was inducted into both the San Antonio music
hall of fame and the Tejano Music Hall of Fame. Rosita’s induction into both of
these halls demonstrates her diversity border including her Texan connection as
well as her Mexican connection. City leaders requested she become San Antonio’s
unofficial cultural ambassador, which is an “Old Mexico” symbol which reminds
us of the border of her culture always being present. What truly shows a border
for the Mexican American singer is her popularity outside of San Antonio. Rosita
is more prevalent in San Antonio than anywhere else in the United States. Rosita
had an incredible career, being one of the most active performers of her
culture, she performed until her retirement in 1982, yet, she still seems to be
less appreciated in other areas. This lack of broader appreciation could lead
us to question the borders we place on others and if it affects situations such
as this one. Although she was beloved in San Antonio, Rosita Fernández lacked
the world recognition she so truly deserved in that eras tough, masculinist
industry of music. The singer’s music can act as a borderland as well. When
observing just her music, you will see that Fernández’s music appears to
conflict with Chicano musicality. She did not fit the label of only a Mexican
musician or an American musician. That borderline then was created between both
parts of her and merged to create the beautiful sounds of Tejano music that she
was able to share with several people. It is hard for Rosita to be appreciated
to the fullness that she deserves since she is barely mentioned within Chicano
history of music. In the book, “Divas in
Chicana Music”, the author, Deborah Vargas, says, “Following the sounds of
her career requires us to open our ears to less stable sonic imaginaries of the
borderlands and of Tejano representations and subjectivities.” This captures
the uniqueness that is Rosita Fernández and how even if she has to deal with
borderlands. She used them to help make her a better musician that is proud to
be called a Mexican American Tejano singer.

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