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In this chapter, Celiany Rivera-Velázquez and Beliza Torres Narváez argue that Javier Cardona’s Ah mén parodies and critiques Caribbean and Latin American moralistic discourses that pathologize men who do not conform to normative gender expectations. They focus on particular scenes that animate the social enforcement of normative masculinities as well as the harmful consequences of such enforcement. They ultimately observe that, within the context of Ahmén, dance functions as a site of queer potentiality and thus opens up possibilities for healthier articulations of masculinity.

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