Lastesis
Embodied protest between the repertoire and the vital archive
Bibliographic Data
| ID | 21687207 |
|---|---|
| Authors | Micaela G Signorelli (Queen Mary University of London, corresponding author) |
| Year | 2024 |
| Volume | 29 |
| Issue | 1 |
| Pages | 78-85 |
| Publication date | 2024-01-02 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | Performance Research (JOURNAL) |
| Journal identifiers | ISSN: 1352-8165 • E-ISSN: 1469-9990 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/13528165.2024.2408118 |
| OpenAlex | W4405578688 |
| Language | EN |
| References cited | 7 |
LASTESIS are a Chilean collective that created Un violador en tu camino, an intermedial protest that reimagined the concept of the barricade as performance art by weaving poetry, feminist theory, catchy music, and a simple choreography in a compelling and easily replicable art action that was repeated in more than fifty-two countries. Un violador en tu camino started as a local demand against the misogyny exhibited during the protests of the 2019 social uprising by Chilean police and was then adapted worldwide by numerous actors to address local concerns. To answer how this performance allowed a vertiginous contagion of theoretical and embodied gestures, I explore the notion of the repertoire as theorised by Diana Taylor as a ‘non archival system of transfer’ that holds actions and behaviours that enact ‘embodied memory’, such as performances, gestures, and other acts over written documents. I combine this productive notion with what the historian of Chilean experimental art Nelly Richard has called the vital archive, a ‘reservoir of recorded remnants, events, dreams, experiences, knowledge, passions, etc.’, which lingers in latency ... [so it can] remain available [to] reinterpret it later’. The vital archive incorporates the repertoire; however, it extends it to include digital and analogue traces of these traditions and behaviours. I argue that this virilization responds to the formation of a collective repertoire of feminist protest by considering theory and practise together, holistically. To reconsider the repertoire and the vital archive responds to a political interest in recovering protest languages to challenge habitual social norms that seek to become visible in exclusionary spaces
| Highly cited | No |
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