Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana.
Comunicado ('Proclamation', 2019) was an audiovisual performance by Cheril Linett's project Yeguada Latinoamericana (Latin American Marehood, 2017) published during the 2019 social uprising, which demanded a new political paradigm for Chile. Comunicado mobilised the slur yegua, an insult employed to...
| Published in: | Contemporary Theatre Review Vol. 34; no. 4; pp. 480 - 496 |
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| Format: | Article |
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Taylor & Francis Ltd
Nov2024
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=184339597&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 184339597 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 10486801 7VS jtl: Contemporary Theatre Review issn: 10486801 maglogo: N pubinfo: dt: Nov2024 vid: 34 iid: 4 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 184339597 10.1080/10486801.2024.2413468 ppf: 480 ppct: 16 formats: fmt: – @attributes: type: T – @attributes: type: P size: 584KB tig: atl: Indomitables: From Yeguas del Apocalipsis to Yeguada Latinoamericana. aug: au: Signorelli, Micaela G. su: Performance art Cyborgs Lemebel, Pedro, 1952-2015 Dualism Chile sug: subj: Chile Performance art Cyborgs Lemebel, Pedro, 1952-2015 Dualism keyword: cyborg Pedro Lemebel protest Yeguada Latinoamericana Yeguas del Apocalipsis ab: Comunicado ('Proclamation', 2019) was an audiovisual performance by Cheril Linett's project Yeguada Latinoamericana (Latin American Marehood, 2017) published during the 2019 social uprising, which demanded a new political paradigm for Chile. Comunicado mobilised the slur yegua, an insult employed to humiliate multiple minorities, and replaced the authority figures of the National Coat of Arms with yeguas in erotic proximity, as a provocation against the Chilean heteropatriarchal order. The origin of this use of the figure yegua can be traced to Yeguas del Apocalipsis (1988–93). Their performance La Refundación de la Universidad de Chile (The Re-Founding of the University of Chile, 1988) recreated the foundation of Santiago replacing Conquistadors with yeguas: queer, femme, Indigenous, impoverished, leftist identities, re-founding the nation state as the dictatorship of Pinochet was coming to an end after 17 years of authoritarianism (1973–89). This article analyses Yeguada Latinoamericana as a reanimation of Yeguas del Apocalipsis. Drawing from Donna Haraway's analytical resource of the cyborg, a 'myth about transgressed boundaries' to reimagine collective resistance beyond arbitrary dualisms, I explore yegua as border stomping embodied protest that articulates disagreement within highly regulated contexts. Yeguada does not merely copy but rather elaborates on Yeguas' approach, reimagining yegua by adopting the mare's physicality and establishing a distance from the human form to further dispute the limits to freedom. I argue that like Yeguas once did, Yeguada disobeys binaries of gender and between humans and non-human animals thus evoking Haraway's 'tentacular thinking'. Performance art enriches repertoires of protest, which return at key moments to make power uncomfortable. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Contemporary Theatre Review is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Contemporary Theatre Review holder: Taylor & Francis Ltd dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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