Many contemporary New Mexicans of Native and Hispano ancestries strive to create their identities free from persistent biases imposed by the colonial casta system, including dismissive attitudes toward genízaros, a small population who identify with their indigenous roots and enslavement. New Mexican historian Miguel Tórrez’s recent geneological work has quantified data on bloodlines based on consensual DNA testing, revealing up to 472,000 Native grandmother and close to 5000 Native grandfather ancestors among Chicanx or Indo-Hispanos in the study. Three New Mexican scholars discuss the musical and performative implications of what has become a somewhat “invisible” and suppressed mix of intersecting identities, with focus on the emergence of Indita ballads as a musical means of reconciliation and testimonio, and the music and dance practices Los Dias and Los Manueles that model symbolic practices integrative and generative of community cohesion. The first scholar summarizes the historical trajectory, including the desire to come to terms with multiple intersections of identities and not two essentialized binaries. The second scholar critically interrogates the intersections of class, gender, and race in their poetic analysis of the nineteenth-century New Mexican ballad, la indita de Juliana Ortega. Building on the works of Michel Foucault, Bernadine Hernández, and Pablo Mitchell, the presenter outlines the precarity of a young nuevomexicana (girl) through an analysis of body politics and sexual slavery. A third scholar brings notions of crossing thresholds in performative practices that utilize the house or its threshold as a liminal space for intersecting practices and dialogues to occur.