In this article, I argue that folk singer Lydia Mendoza’s musical and lyrical imagination of the Mexican diaspora enables important avenues of working through the complications of belonging and nostalgia as communal processes. Leaning on the affective and kinesthetic valences of the word “moving,” I use “moving homelands” to name the sense through which this negotiation of belonging and nostalgia occurs. By conducting close readings of Mendoza’s songs “Dos palomas al volar” (1989b), “Luis Pulido” (1989c), and “Celosa” (1989a), recorded at the same live concert in Santa Barbara, I argue that her music makes belonging and nostalgia into material processes, rather than abstracted and mythical concepts. Moving homelands describes how Mendoza’s audience interacts with her music to sound out the difficulties of living in a world separated by borders, finding improvisatory and collaborative moments to create a sense of communal belonging.

在本文中，我认为民谣歌手莉迪亚·门多萨 (Lydia Mendoza) 对墨西哥侨民的音乐和抒情想象力提供了重要途径，可以解决作为公共过程的归属感和怀旧的复杂性。依靠“移动”这个词的情感和动觉价值，我使用“移动家园”来命名这种归属感和怀旧的协商发生的意义。通过仔细阅读 Mendoza 的歌曲“Dos palomas al volar”（1989b）、“Luis Pulido”（1989c）和“Celosa”（1989a），这些歌曲在圣巴巴拉的同一个现场音乐会上录制，我认为她的音乐具有归属感和怀旧到物质过程，而不是抽象和神话的概念。移动家园描述了门多萨的观众如何与她的音乐互动，以表达生活在一个被国界分割的世界的困难，