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In this essay, Ramón H. Rivera-Servera takes on the dismissal of perreo, the doggy-style dance that anchors reggaetón choreography, in contemporary Puerto Rican feminist criticism to emphasize the feminist and queer microagencies performed by dancers who engage with this musical culture. Through examining Carolina Caycedo’s video documentary of a perreo dancing marathon in Rincón, Puerto Rico, and ethnographic data from a Latina/o queer dance club in Phoenix, Arizona, Rivera-Servera argues that the black aesthetics of reggaetón enabled queer dance practices that exceeded the heteropatriarchal politico-economic and representational frameworks of reggaetón. In offering the on-the-ground analytic of performance as an optic, the essay features the dance skills of reggaetoneras and their understanding of the racial economies of reggaetón as queer engagements, perhaps even interventions, with the gender politics of the genre.

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