Essay: Sanctuary city? How Houstonโ€™s Central Americans made their own.

Meet your neighbors. Their story reveals how migrants and their allies forged a community, and are emerging as a cultural force.

David Benรญtez and his daughter Allison rehearse their quinceaรฑera waltz to the soundtrack of the (now aging) heartthrob Chayanne singing โ€œTiempo de Vals.โ€ The formal gown, white chiffon with a pink fringe, was borrowed for the occasion and is big on Allison โ€“ she wears it over the Mickey Mouse T-shirt she wore to school today. โ€œKiss me to the tempo of the waltz,โ€ croons Chayanne in Spanish, and even though itโ€™s just a rehearsal, father and daughter glow with the tenderness between them.

David and Allison, both natives of El Salvador, are not actually rehearsing her โ€œquinceโ€ (sheโ€™s 13 now). Theyโ€™re acting the moment for โ€œLittle Central America, 1984,โ€ a theatrical production I co-wrote with the Costa Rican performance artist Elia Arce that premieres next week at the First Unitarian Universalist Church of Houston. By the end of the performance, we realize that David and Allisonโ€™s story echoes and yet is devastatingly different from that of another Salvadoran would-be immigrant family: 25 year-old Oscar Alberto Martรญnez and his two year-old daughter Valeria, who set out for the United States from San Martรญn, El Salvador, in the early summer of 2019.

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