<?xml version="1.0" encoding="ISO-8859-1"?><article xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance">
<front>
<journal-meta>
<journal-id>2448-5705</journal-id>
<journal-title><![CDATA[Inter disciplina]]></journal-title>
<abbrev-journal-title><![CDATA[Inter disciplina]]></abbrev-journal-title>
<issn>2448-5705</issn>
<publisher>
<publisher-name><![CDATA[Universidad Nacional Autónoma de México, Centro de Investigaciones Interdisciplinarias en Ciencias y Humanidades]]></publisher-name>
</publisher>
</journal-meta>
<article-meta>
<article-id>S2448-57052021000100125</article-id>
<article-id pub-id-type="doi">10.22201/ceiich.24485705e.2021.23.77348</article-id>
<title-group>
<article-title xml:lang="es"><![CDATA[Entre blanquitud y negritud: los procesos identitarios en los ministriles (Estados Unidos, 1840-1930)]]></article-title>
<article-title xml:lang="en"><![CDATA[Between whiteness and blackness: the identity process in the minstrels (United States, 1840-1930)]]></article-title>
</title-group>
<contrib-group>
<contrib contrib-type="author">
<name>
<surname><![CDATA[Sánchez Menchero]]></surname>
<given-names><![CDATA[Mauricio]]></given-names>
</name>
<xref ref-type="aff" rid="Aff"/>
</contrib>
</contrib-group>
<aff id="Af1">
<institution><![CDATA[,Universidad Nacional Autónoma de México Centro de Investigaciones Interdisciplinarias en Ciencias y Humanidades ]]></institution>
<addr-line><![CDATA[Ciudad de México ]]></addr-line>
<country>Mexico</country>
</aff>
<pub-date pub-type="pub">
<day>00</day>
<month>04</month>
<year>2021</year>
</pub-date>
<pub-date pub-type="epub">
<day>00</day>
<month>04</month>
<year>2021</year>
</pub-date>
<volume>9</volume>
<numero>23</numero>
<fpage>125</fpage>
<lpage>145</lpage>
<copyright-statement/>
<copyright-year/>
<self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_arttext&amp;pid=S2448-57052021000100125&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_abstract&amp;pid=S2448-57052021000100125&amp;lng=en&amp;nrm=iso"></self-uri><self-uri xlink:href="http://www.scielo.org.mx/scielo.php?script=sci_pdf&amp;pid=S2448-57052021000100125&amp;lng=en&amp;nrm=iso"></self-uri><abstract abstract-type="short" xml:lang="es"><p><![CDATA[Resumen El artículo reflexiona sobre los conceptos de enfoque, blanquitud y negritud, aplicados al estudio de las identidades y dinámicas culturales desde mediados del siglo XIX hasta principios del XX en los Estados Unidos. Para ello, se compara la integración a la joven nación que llevaron a cabo tanto los inmigrantes europeos como la población negra marginada en una sociedad capitalista y blanca. Así, la cultura afroamericana en medio de una situación de pobreza y explotación supo resistir y preservar, por ejemplo, a través de expresiones musicales y bailables de los llamados ministriles. Por su parte, la migración europea, particularmente la comunidad judía, con el fin de granjearse la aprobación y el sustento, asumió la tarea de apropiarse y representar los roles de los afroamericanos a través del disfraz y la pintura. Finalmente, ambas poblaciones, blanca y negra, supieron utilizar, con diferentes estrategias, la tradición teatral de los ministriles y luego el cine como expresiones culturales identitarias.]]></p></abstract>
<abstract abstract-type="short" xml:lang="en"><p><![CDATA[Abstract The article reflects on the concepts of focus, whiteness and blackness, applied to the study of cultural identities and dynamics from the mid-nineteenth century to the early twentieth century in the United States. To do this, we compare the integration to the young nation that was carried out by both European immigrants and black population marginalized in a white capitalist society. Thus, the Afro-American culture in the midst of a situation of poverty and exploitation knew how to resist and preserve, for example, through musical and 125 danceable expressions of the so-called ministriles. For its part, European migration, particularly the Jewish community, in order to gain approval and sustenance took on the task of appropriating and representing the roles of African-Americans through disguise and painting. Finally, both populations, white and black, knew how to use, with different strategies, the theatrical tradition of the minstrels and then the cinema as cultural identity expressions.]]></p></abstract>
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<kwd lng="es"><![CDATA[blanquitud]]></kwd>
<kwd lng="es"><![CDATA[negritud]]></kwd>
<kwd lng="es"><![CDATA[focalización]]></kwd>
<kwd lng="es"><![CDATA[ministriles]]></kwd>
<kwd lng="en"><![CDATA[Whiteness]]></kwd>
<kwd lng="en"><![CDATA[Blackness]]></kwd>
<kwd lng="en"><![CDATA[focus]]></kwd>
<kwd lng="en"><![CDATA[minstrels]]></kwd>
</kwd-group>
</article-meta>
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<year>1915</year>
<publisher-name><![CDATA[Epoch Producing Corporation]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B40">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Fleischer]]></surname>
<given-names><![CDATA[David]]></given-names>
</name>
</person-group>
<source><![CDATA[I&#8217;ll be glad: When you&#8217;re dead, you rascal you]]></source>
<year>1932</year>
<publisher-name><![CDATA[Fleischer Studios]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B41">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Porter]]></surname>
<given-names><![CDATA[Edwin S.]]></given-names>
</name>
</person-group>
<source><![CDATA[Uncle Tom&#8217;s Cabin]]></source>
<year>1903</year>
<publisher-name><![CDATA[Edison Manufacturing Company]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B42">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Anderson]]></surname>
<given-names><![CDATA[John Murray]]></given-names>
</name>
</person-group>
<source><![CDATA[King of Jazz]]></source>
<year>1930</year>
<publisher-name><![CDATA[Universal Pictures]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B43">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Vidor]]></surname>
<given-names><![CDATA[King]]></given-names>
</name>
</person-group>
<source><![CDATA[Hallelujah!]]></source>
<year>1921</year>
<publisher-name><![CDATA[Metro-Goldwyn-Mayer]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B44">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Bacon]]></surname>
<given-names><![CDATA[Lloyd]]></given-names>
</name>
</person-group>
<source><![CDATA[The Singing Fool]]></source>
<year>1928</year>
<publisher-name><![CDATA[Warner Brothers]]></publisher-name>
</nlm-citation>
</ref>
<ref id="B45">
<nlm-citation citation-type="book">
<person-group person-group-type="author">
<name>
<surname><![CDATA[Lee]]></surname>
<given-names><![CDATA[Spike]]></given-names>
</name>
</person-group>
<source><![CDATA[Bamboozled]]></source>
<year>2000</year>
<publisher-name><![CDATA[40 Acres &amp; A Mule Filmworks]]></publisher-name>
</nlm-citation>
</ref>
</ref-list>
</back>
</article>
