Professional Documents
Culture Documents
Beyond Borders
To cite this article: Laura Weiss & Joseph Nevins (2019) Beyond Borders, NACLA Report on the
Americas, 51:1, 1-2, DOI: 10.1080/10714839.2019.1593678
B eyon d Bo rders
I
n May 1988, Chicano border artist Richard Lou walked Casuarinas neighborhood from an informal housing
across the U.S.-Mexico border to Tijuana, where he’d development long neglected by the Peruvian government.
grown up. He held in tow a free-standing, workable As Leigh Campoamor writes in the issue, this internal
door, which he then fixed on the border. At the time, border embodies both the physical inequities borders
there was some chain-link fencing, much of it in very poor draw, as well as the way borders serve to separate people,
shape, along the border, but only in the most urbanized differentiating them, whether by nationality, ethnicity,
stretches, and there were no walls as we see today. class, or socioeconomic status. These mirror the less literal
That changed just a few years later, in 1990, when U.S. but just as real walls that privilege the flow of commerce
authorities constructed several miles of steel wall along over the flow of people, that give the wealthy the right to
the international boundary in the San Diego area, where move while caging in the poor.
the majority of unsanctioned border crossings were taking The Report includes an excerpt from Reece Jones’ book,
place at the time. Violent Borders, which lays the stage for the framing of the
Yet the vision of the door, standing still in the desert issue as a whole. Rather than seeing nation-state borders
sun, evokes a sense of the arbitrary lines that cleave as a response to violence, Jones understands them to be
nations, environments, and people from one another. The not only a product of overt violence, but also of structural
symbolism of Lou’s project went a step further. The artist forms and the well-being of people and nature—from the
wandered the streets of Tijuana with 250 keys, which he land itself to the climate system.
gave to residents of La Colonia Roma and Altamira so What are borders, how have they been made, and who
they could use the door, moving from one nation-state to controls them? Pablo Mansilla’s piece interrogates the very
another. As Latinx feminist art historian Guisela Maria definition of borders in his discussion on the Indigenous
Latorre has written, Lou’s political work “questions the Mapuche and their concept of Xawümen. Unlike nation-
very existence of this border and the extreme inequities state borders, Xawümen both delimit space and also serve
that it has ushered in, yet it underscores and celebrates the as connections that link people and places rather than
cultural hybridity that emanates from it.” separating them. This directly contests the state’s violent
An issue about borders couldn’t be more timely, when creation and enforcement of borders, a process that has
the Trump administration has posed the U.S.-Mexico resulted in devastation for the Mapuche community.
border and the people who cross it as the central threat to Joe Bryan’s article on Nicaragua similarly focuses on
U.S. Americanism. Yet this focus displaces the longer-term Indigenous territorial claims. It illustrates the profound
history of violent border exclusion across the Americas— limitations of embracing “modern” territorial practices
the brutality, inequality, and cultural hybridity they and their associated boundaries to protect land holdings
embody, as Latorre suggests—in various conceptions. in a world shaped by colonialism and capitalism. In telling
That’s why this issue focuses on a variety of borders the story of ongoing and intensifying threats to the lands
across the Americas, literal and symbolic. In fact, our of Black and Indigenous peoples in Nicaragua’s Atlantic
back cover depicts the Muro de la Vergüenza, or the coastal region, Bryan’s article forces us to reconsider binary
Wall of Shame, in Lima, Peru, which divides the wealthy approaches to territory and to think in more complex