Few have studied the battle for memory carried on through alternative means and on a smaller scale by groups excluded both by the retiring dictatorship and the upcoming democracy. This work analyzes how the aesthetic-political actions of the artistic duo Las Yeguas del Apocalipsis , as openly homosexual activists with intentionally fluid identities, embodied a radical and militant difference from which they actively aimed to publicly challenge and broaden the discussions and political culture by which a "new" country was being thought of and built. No soy un marica disfrazado de poeta. No necesito disfraz.
|Published (Last):||6 October 2010|
|PDF File Size:||18.83 Mb|
|ePub File Size:||19.54 Mb|
|Price:||Free* [*Free Regsitration Required]|
I first learned about Chilean artist and activist Pedro Lemebel while watching an interview with Chilean queer musician Alex Anwandter about his latest album, Amiga.
After watching the interview, I began to research Pedro Lemebel obsessively and thus began my journey into discovering the magic that was the late, great artist. In his work, Lemebel often used humor and sarcasm to uplift the experiences of working class people living in the capital city of Santiago.
He particularly elevated the stories and realities of queer and trans folks who lived in poverty, marginalized not only by mainstream society but also at times by leftist circles and leaders active in the city.
You have to be acid to withstand it. In , Lemebel published his first and only full novel Tengo Miedo Torero —a love story between an older drag queen and a young leftist revolutionary who is plotting the assassination of dictator Pinochet. It tells a story of political and sexual desire, of poverty, of revolutionary spirit and most certainly of romance and love—all during a Chile still ruled by dictatorship.
Undoubtedly, Lemebel was a badass, intersectional guerrerx who fought not only for poor, working-class queer and trans people but also for political prisoners, for indigenous Mapuche communities, for women, and for all the people and families terrorized under the Pinochet regime. A legacy that is perhaps most evident in the work of an art collective that Lemebel helped form and performed with for 10 years of his life.
Bits of glass from broken Coca-Cola bottles were scattered on the floor, and as they danced the map became stained with blood. They performed this act at the Chilean Commission on Human Rights in October of just as Chile was preparing to transition out of the 17 year dictatorship of Pinochet.
La Conquista de America represented and connected both the long history of colonization throughout the Americas as well as the more recent history of neoliberalism and dictatorships.
The legacy of Las Yeguas can serve as a reminder that our duty is not only to survive in the face of repression but also to thrive, to unleash our political imaginations and to move us forward into what is possible when we come into la lucha as our whole selves; challenging oppression while also showing to the world and to each other that we as queer latinx folks can hold tremendous beauty, joy, creativity and resilience in our bodies, hearts, and souls.
Discovering this Chilean queer history has been a grounding and healing experience for me. Growing up in the U. I used to think about what my development as a young queer kid would have been like; how my political education and values would have been shaped. Cheers to Pedro Lemebel, to Las Yeguas del Apocalipsis and to all of the fabulous queers who resist, who breathe fire and joy into the world and who do it with a flamboyant courage across time and space.
The video is amazing and allows you to hear from Pedro Lemebel directly but it is also in Spanish and has no English subtitles. Follow him at SalemAcu Join Login.
Public Memory, Public History, and Performance