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Yielding pivotal new perspectives on the indigenous women of Mexico, Dissident Women: Gender and Cultural Politics in Chiapas presents a diverse collection of voices exploring the human rights and gender issues that gained international attention after the first public appearance of the Zapatista National Liberation Army (EZLN) in 1994. Drawing from studies on topics ranging from the daily life of Zapatista women to the effect of transnational indigenous women in tipping geopolitical scales, the contributors explore both the personal and global implications of indigenous women's activism. The Zapatista movement and the Women's Revolutionary Law, a charter that came to have tremendous symbolic importance for thousands of indigenous women, created the potential for renegotiating gender roles in Zapatista communities. Drawing on the original research of scholars with long-term field experience in a range of Mayan communities in Chiapas and featuring several key documents written by indigenous women articulating their vision, Dissident Women brings fresh insight to the revolutionary crossroads at which Chiapas stands—and to the worldwide implications of this economic and political microcosm.
Drawing on ethnographic research with underrepresented communities in the Caribbean, Europe, South America, and the United States, this wide-ranging anthology examines the gendered dimensions of citizenship experiences and uses them as a point of departure for rethinking contemporary practices of social inclusion and national belonging.
In many Latin American countries, guerrilla struggle and feminism have been linked in surprising ways. Women were mobilized by the thousands to promote revolutionary agendas that had little to do with increasing gender equality. They ended up creating a uniquely Latin American version of feminism that combined revolutionary goals of economic equality and social justice with typically feminist aims of equality, nonviolence, and reproductive rights. Drawing on more than two hundred interviews with women in Nicaragua, El Salvador, and the Mexican state of Chiapas, Karen Kampwirth tells the story of how the guerrilla wars led to the rise of feminism, why certain women became feminists, and what sorts of feminist movements they built. Feminism and the Legacy of Revolution: Nicaragua, El Salvador, Chiapas explores how the violent politics of guerrilla struggle could be related to the peaceful politics of feminism. It considers the gains, losses, and internal conflicts within revolutionary women’s organizations. Feminism and the Legacy of Revolution challenges old assumptions regarding revolutionary movements and the legacy of those movements for the politics of daily life. It will appeal to a broad, interdisciplinary audience in political science, sociology, anthropology, women’s studies, and Latin American studies as well as to general readers with an interest in international feminism.
Gender discrimination pervades nearly all legal institutions and practices in Latin America. The deeper question is how this shapes broader relations of power. By examining the relationship between law and gender as it manifests itself in the Mexican legal system, the thirteen essays in this volume show how law is produced by, but also perpetuates, unequal power relations. At the same time, however, authors show how law is often malleable and can provide spaces for negotiation and redress. The contributors (including political scientists, sociologists, geographers, anthropologists, and economists) explore these issues-not only in courts, police stations, and prisons, but also in rural organizations, indigenous communities, and families. By bringing new interdisciplinary perspectives to issues such as the quality of citizenship and the rule of law in present-day Mexico, this book raises important issues for research on the relationship between law and gender more widely.
Holy Terrors presents exemplary original work by fourteen of Latin America’s foremost contemporary women theatre and performance artists. Many of the pieces—including one-act plays, manifestos, and lyrics—appear in English for the first time. From Griselda Gambaro, Argentina's most widely recognized playwright, to such renowned performers as Brazil's Denise Stoklos and Mexico’s Jesusa Rodríguez, these women are involved in some of Latin America's most important aesthetic and political movements. Of varied racial and ethnic backgrounds, they come from across Latin America—Argentina, Brazil, Mexico, Chile, Colombia, Puerto Rico, Peru, and Cuba. This volume is generously illustrated with over seventy images. A number of the performance pieces are complemented by essays providing context and analysis. The performance pieces in Holy Terrors are powerful testimonies to the artists' political and personal struggles. These women confront patriarchy, racism, and repressive government regimes and challenge brutality and corruption through a variety of artistic genres. Several have formed theatre collectives—among them FOMMA (a Mayan women’s theatre company in Chiapas) and El Teatro de la máscara in Colombia. Some draw from cabaret and ‘frivolous’ theatre traditions to create intense and humorous performances that challenge church and state. Engaging in self-mutilation and abandoning traditional dress, others use their bodies as the platforms on which to stage their defiant critiques of injustice. Holy Terrors is a unique English-language presentation of some of Latin America's fiercest, most provocative art. Contributors Sabina Berman Tania Bruguera Petrona de la Cruz Cruz Diamela Eltit Griselda Gambaro Astrid Hadad Teresa Hernández Rosa Luisa Márquez Teresa Ralli Diana Raznovich Jesusa Rodríguez Denise Stoklos Katia Tirado Ema Villanueva
The revolutionary movements that emerged frequently in Latin America over the past century promoted goals that included overturning dictatorships, confronting economic inequalities, and creating what Cuban revolutionary hero Che Guevara called the "new man." But, in fact, many of the "new men" who participated in these movements were not men. Thousands of them were women. This book aims to show why a full understanding of revolutions needs to take account of gender. Karen Kampwirth writes here about the women who joined the revolutionary movements in Nicaragua, El Salvador, and the Mexican state of Chiapas, about how they became guerrillas, and how that experience changed their lives. In the last chapter she compares what happened in these countries with Cuba in the 1950s, where few women participated in the guerrilla struggle. Drawing on more than two hundred interviews, Kampwirth examines the political, structural, ideological, and personal factors that allowed many women to escape from the constraints of their traditional roles and led some to participate in guerrilla activities. Her emphasis on the experiences of revolutionaries adds a new dimension to the study of revolution, which has focused mainly on explaining how states are overthrown.
The aim of this book is to engender Mexican folk art and locate women at its centre by studying the processes of creation, distribution, and consumption, as well as examining iconographic aspects, and elements of class and ethnicity, from the perspective of gender. The author will demonstrate that the topic provides unique insights into Mexican culture, and has enormous relevance within and without the country, given the fact that much folk art is made for the United States and Europe, either in terms of the tourists who buy it on coming to Mexico, or that which is exported.
The relationship between gender and nationalism is a compelling issue that is receiving increasing coverage in the scholarly literature. With case studies covering Argentina, Ecuador, Bolivia and Mexico, this is the first book to explore these links in the context of Latin America. It includes contributions from Latin American scholars to offer a unique and revealing view of the most important political and cultural issues. The work opens by outlining four dimensions in the relationship between gender and nationalism. These are: the contribution of women to nation building and their exclusion from it by the state and its institutions; the role of women in contemporary ethnic and nationalist movements; the place of the female body in the myths and traditions surrounding the nation; and the role of women in forging the intellectual and artistic culture of the nation. It then provides both theoretical and empirical explorations of these themes, with chapters covering the debate on multiculturalism and gender in the construction of the nation, the struggles of ethnic women to participate politically in their communities and studies of the first Mexican filmmaker, Mimi Derrba and the indigenous heroine Dolores Cacuango from Ecuador.