Using a critical race theory (CRT) framework, this article compares the playwriting methods of the Chicano—Latino theater trio, Culture Clash, to a counterstorytelling methodology. The author uncovers the tenets of a critical race theater in the trio's site-specific ethnographic play, Radio Mambo: Culture Clash Invades Miami. He argues that this performance art consciously challenges social and racial injustice by illuminating the lives and histories of diverse urban communities. Grounded in a Chicana/o teatro rasquache aesthetic, Culture Clash's theatrical ethnographies speak to a broad array of audiences about race, class, culture, gender, and identity.
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