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This paper focuses on the form of relational racialization that occured in the performances of nineteenth-century freak show performers Maximo and Bartola, also known as the "Aztec Children". In particular, it analyzes how their staging as anachronistic and spectacular Indigenous people were constructed in relation to depiction of Blackness on the popular stage. By doing so, it argues for a relational and historical approach to studies of Latinx racial formation.
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