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Since Argentina's transition to democracy, the expression of human fragility on the stage has taken diverse forms. This book examines the intervention of theatre and performance in the memory politics surrounding Argentina's return to democracy and makes a case for performance's transformative power.
By blending personal memoir and critical analysis, Voices of the Survivors explores cultural and human responses to the violence of political repression and social disintegration perpetrated in Argentina during the so called Dirty War of the late '70s and early '80s. Central to the theoretical and critical corpus is the work of scholars writing in response to the historical trauma of the Holocaust (Adorno, La Capra, Shoshana Felman), which posed questions regarding social trauma, the links between mourning and memory, and the role of artistic creation and its value as testimony. The book traces shifts in discursive formations and social practices critical to understanding the origin and impact of the Process of National Reorganization (as it was known by the military government) through analysis of a broad range of sources, including poetry, fiction, memoirs and testimonies, popular music, and journalism. These texts explore the persistence of issues of memory and mourning within the particular conditions of Argentine culture in the aftermath of the dictatorship. This significant new work will be essential reading for scholars interested in issues of violence, political and cultural disruption, memory, and historical consciousness.
"The aftermath of Argentina's last dictatorship (1976-1983) has traditionally been associated with narratives of suffering, which recall the loss of the 30,000 civilians infamously known as the "disappeared." When democracy was recovered, the unspoken rule was that only those related by blood to the missing were entiteld to ask for justice. This book both queries and queers this bloodline normativity. Drawing on queer theory and performance studies, it develops an alternative framework for understanding the affective transmission of trauma beyond traditional family settings. To do so, it introduces an archive of non-normative acts of mourning that runs across different generations. Through the analysis of a broad spectrum of performances--including interviews, memoirs, cooking sessions, films, jokes, theatrical productions and literature--the book shows how the experience of loss has not only produced a well-known imaginary of suffering but also new forms of collective pleasure"--Back cover.
In this work examining Argentine theatre over the past four decades and drawing on contemporary research, Noe Montez considers how theatre can serve as activism and alter public reception to a government addressing human rights violations by its predecessor.
The dictatorships of Chile and Argentina lasted from 1973 to 1989 and from 1976 to 1983, respectively. The two countries have thus long since entered the time of commemoration and of a new politics of memory. How, though, to remember and commemorate trauma as a political body, without reducing memory and commemoration to political calculation? New social movements have proposed a different sociability of mourning (one is not supposed to dance at funerals...), a new politics and culture of affect. Social media allow us to remember traumas that were never experienced first-hand. More than ever, memory is mediated by technology. This volume examines such matters in a series of essays covering the centres of detention, museums and memory sites, film, documentary, television, theatre, fiction and the press, LGBT and other testimonies, education, accusatory practices, the politics of memory and mourning, and the Abuelas of the Plaza de Mayo. They deal with the memory, commemoration and trauma of the Pinochet and March 1976 coups, and of the Falklands-Malvinas war in an exploration of post-dictatorship Argentina and Chile. The result of a European Union-funded project involving academics, war veterans and politicians from Argentina, Chile and Europe, the volume will be of interest to scholars of history, memory studies, post-conflict studies, feminist and LGBT studies, cultural and theatre studies, and trauma studies.
This volume investigates the rise of human rights discourses manifested in the global spectrum of theatre and performance since 1945. Essays address topics such as disability, discrimination indigenous rights, torture, gender violence, genocide and elder abuse.
Performance Constellations maps transnational protest movements and the dynamics of networked expressive behavior in the streets and online, as people struggle to be heard and effect long-term social justice. Its case studies explore collective political action in Latin America, including the Zapatistas in the mid-’90s, protests during the 2001 Argentine economic crisis, the 2011 Chilean student movement, the 2014–2015 mobilizations for the disappeared Ayotzinapa students, and the 2018 transnational reproductive rights movement. The book analyzes uses of space, time, media communication, and corporeality in protests such as virtual sit-ins, flash mobs, scarfazos, and hashtag campaigns, arguing that these protests not only challenge hegemonic power but are also socially transformative. While other studies have focused either on digital activism or on street protests, Performance Constellations shows that they are in fact integrally entwined. Zooming in on protest movements and art-activism in Mexico, Argentina, and Chile, and putting contemporary insurgent actions in dialogue with their historical precedents, the book demonstrates how, even in moments of extreme duress, social actors in Latin America have taken up public and virtual space to intervene politically and to contest dominant powers.
In Mapping Memory, Kaitlin M. Murphy investigates the use of memory as a means of contemporary sociopolitical intervention. Mapping Memory focuses specifically on visual case studies, including documentary film, photography, performance, new media, and physical places of memory, from sites ranging from the Southern Cone to Central America and the U.S.–Mexican borderlands. Murphy develops new frameworks for analyzing how visual culture performs as an embodied agent of memory and witnessing, arguing that visuality is inherently performative. By analyzing the performative elements, or strategies, of visual texts—such as embodiment, reenactment, haunting, and the performance of material objects and places Murphy elucidates how memory is both anchored in and extracted from specific bodies, objects, and places. Drawing together diverse theoretical strands, Murphy originates the theory of “memory mapping”, which tends to the ways in which memory is strategically deployed in order to challenge official narratives that often neglect or designate as transgressive certain memories or experiences. Ultimately, Murphy argues, memory mapping is a visual strategy to ask, and to challenge, why certain lives are rendered visible and thus grievable and others not.