Includes bibliographical references and index.

Preliminary Material -- Postcolonial Indigenous Performances: Coyote Musings on Genízaros, Hybridity, Education, and Slavery -- Remember The Alamo – Imperialism, Memory, And Postcolonial Educational Studies -- Whose Lady Of Guadalupe? Indigenous Performances, Latina/O Identities, And The Postcolonial Project -- Performing School In The Shadow Of Imperialism – a Hybrid (Coyote) Interpretation -- “Dancing The Comanches” – The Santo Niño, La Virgen (Of Guadalupe) And The Genízaro Indians Of New Mexico -- “Confess This Genízaro So That They May Give Him Five Bullets”1 – Slavery, Hybridity, Agency, And Indigenous Identity In New Mexico -- The Education Of Hummingbird Boy -- References -- About the Author.

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The essays in this volume contain a symphony of carefully orchestrated narratives that engage a wide-ranging assemblage of topics including immigration, indigenous identity, Genízaros, hybridity, education, religious syncretism, and United States and Spanish imperialism. Utilizing excavated memory, archival history, and employing the work of performance and postcolonial theorists, the author examines Native American slavery and captivity in the Spanish Colonial Southwest, with emphasis on Coyotes (indigenous mixed-bloods) of Pueblo/Spanish ancestry as well as descendants of Indigenous servants. The essays engage the cultural politics of education within the context of hybrid religious practices such as pilgrimages to el Cerro de Tepeyac, the site of veneration of the pre-Columbian Goddess Tonanztin and her contemporary, la Señora de Guadalupe; el Santuario de Chimayo, the pre-Hispanic Tewa religious site that continues to serve as the destination for pilgrims, albeit now draped in Catholic ritual; and the Comanche dance ceremony of the Saracino sisters of Atrisco. The essays emerge in part from the author’s childhood in the Barelas and Atrisco neighborhoods of Albuquerque, two of several mixed-blood indigenous communities of New Mexico plagued by a devastating heroin epidemic in the 1950s and 60s.