西区故事

A. Sánchez
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引用次数: 0

摘要

1973年我移民到威斯康辛州上大学后,歌舞片《西区故事》(WEST SIDE STORY)经常被强加给我,作为我波多黎各民族身份的“典范”。当然,对于一个新来者来说,这是一个奇怪而陌生的模式,但对于盎格鲁-美国人来说却不是这样,他们通过我的身体存在来实现他们对拉丁美洲人的异类的刻板印象。一次又一次,为了让我在他们的家庭房间里感到自在,为了告诉我他们对波多黎各人的了解,他们会以《西区故事》开始他们的谈话:“阿尔,我们喜欢《西区故事》。”“你看过这部电影吗?”“你喜欢吗?”在其他场合,有些人甚至在我耳边模仿地唱:“阿尔贝托,我刚刚遇到了一个叫阿尔贝托的家伙。”还有,我怎么能忘记那些一到美国就开始敲着弗拉门戈舞步尖叫的人:“我喜欢在美国!在美国一切都是免费的。[1]随着时间的流逝,我渐渐习惯了他们对我的行为和反应。我会微笑,无视好莱坞宣扬的对波多黎各人的刻板印象。或者,也许是因为我自己的阶级或种族偏见,我不愿意认同生活在纽约的波多黎各移民?
本文章由计算机程序翻译,如有差异,请以英文原文为准。
West Side Story
After my immigration to Wisconsin in 1973 to attend college, the musical film WEST SIDE STORY frequently was imposed upon me as a "model of of/for" my Puerto Rican ethnic identity. Certainly it was a strange and foreign model for a newcomer, but not for the Anglo-Americans who actualize with my bodily presence their stereotypes of Latinos' Otherness. Over and over again, to make me feel comfortable in their family rooms and to tell me of their knowledge about Puerto Ricans, they would start their conversations with WEST SIDE STORY: "Al, we loved WEST SIDE STORY." "Have you seen the movie'?" "Did you like it?" On other occasions, some people even sang parodically in my ears: "Alberto, I've just met a guy named Alberto." And, how can I forget those who upon my arrival would start tapping flamenco steps and squealing: "I like to be in America!...Everything free in America."[1][open notes in new window] As the years passed by I grew accustomed to their actions and reactions to my presence. I would smile and ignore the stereotype of Puerto Ricans that Hollywood promotes. Or perhaps, was I unwilling to identify with the Puerto Rican immigrants living in New York because of my own prejudices of class or race?
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