Dissident Acts – serie

In The Extractive Zone Macarena GÓmez-Barris traces the political, aesthetic, and performative practices that emerge in opposition to the ruinous effects of extractive capital. The work of Indigenous activists, intellectuals, and artists in spaces GÓmez-Barris labels extractive zones-majority indigenous regions in South America noted for their biodiversity and long history of exploitative natural resource extraction-resist and refuse the terms of racial capital and the continued legacies of colonialism. Extending decolonial theory with race, sexuality, and critical Indigenous studies, GÓmez-Barris develops new vocabularies for alternative forms of social and political life. She shows how from Colombia to southern Chile artists like filmmaker Huichaqueo Perez and visual artist Carolina Caycedo formulate decolonial aesthetics. She also examines the decolonizing politics of a Bolivian anarcho-feminist collective and a coalition in eastern Ecuador that protects the region from oil drilling. In so doing, GÓmez-Barris reveals the continued presence of colonial logics and locates emergent modes of living beyond the boundaries of destructive extractive capital.

In The Extractive Zone Macarena GÓmez-Barris traces the political, aesthetic, and performative practices that emerge in opposition to the ruinous effects of extractive capital. The work of Indigenous activists, intellectuals, and artists in spaces GÓmez-Barris labels extractive zones-majority indigenous regions in South America noted for their biodiversity and long history of exploitative natural resource extraction-resist and refuse the terms of racial capital and the continued legacies of colonialism. Extending decolonial theory with race, sexuality, and critical Indigenous studies, GÓmez-Barris develops new vocabularies for alternative forms of social and political life. She shows how from Colombia to southern Chile artists like filmmaker Huichaqueo Perez and visual artist Carolina Caycedo formulate decolonial aesthetics. She also examines the decolonizing politics of a Bolivian anarcho-feminist collective and a coalition in eastern Ecuador that protects the region from oil drilling. In so doing, GÓmez-Barris reveals the continued presence of colonial logics and locates emergent modes of living beyond the boundaries of destructive extractive capital.

In Abject Performances Leticia Alvarado draws out the irreverent, disruptive aesthetic strategies used by Latino artists and cultural producers who shun standards of respectability that are typically used to conjure concrete minority identities. In place of works imbued with pride, redemption, or celebration, artists such as Ana Mendieta, Nao Bustamante, and the Chicano art collective known as Asco employ negative affects-shame, disgust, and unbelonging-to capture experiences that lie at the edge of the mainstream, inspirational Latino-centered social justice struggles. Drawing from a diverse expressive archive that ranges from performance art to performative testimonies of personal faith-based subjection, Alvarado illuminates modes of community formation and social critique defined by a refusal of identitarian coherence that nonetheless coalesce into Latino affiliation and possibility.

In Abject Performances Leticia Alvarado draws out the irreverent, disruptive aesthetic strategies used by Latino artists and cultural producers who shun standards of respectability that are typically used to conjure concrete minority identities. In place of works imbued with pride, redemption, or celebration, artists such as Ana Mendieta, Nao Bustamante, and the Chicano art collective known as Asco employ negative affects-shame, disgust, and unbelonging-to capture experiences that lie at the edge of the mainstream, inspirational Latino-centered social justice struggles. Drawing from a diverse expressive archive that ranges from performance art to performative testimonies of personal faith-based subjection, Alvarado illuminates modes of community formation and social critique defined by a refusal of identitarian coherence that nonetheless coalesce into Latino affiliation and possibility.

In ¡Presente! Diana Taylor asks what it means to be physically and politically present in situations where it seems that nothing can be done. As much an act, a word, an attitude, a theoretical intervention, and a performance pedagogy, Taylor maps ¡presente! at work in scenarios ranging from conquest, through colonial enactments and resistance movements, to present moments of capitalist extractivism and forced migration in the Americas. ¡Presente!-present among, with, and to; a walking and talking with others; an ontological and epistemic reflection on presence and subjectivity as participatory and relational, founded on mutual recognition-requires rethinking and unlearning in ways that challenge colonial epistemologies. Showing how knowledge is not something to be harvested but a process of being, knowing, and acting with others, Taylor models a way for scholarship to be present in political struggles.

In ¡Presente! Diana Taylor asks what it means to be physically and politically present in situations where it seems that nothing can be done. As much an act, a word, an attitude, a theoretical intervention, and a performance pedagogy, Taylor maps ¡presente! at work in scenarios ranging from conquest, through colonial enactments and resistance movements, to present moments of capitalist extractivism and forced migration in the Americas. ¡Presente!-present among, with, and to; a walking and talking with others; an ontological and epistemic reflection on presence and subjectivity as participatory and relational, founded on mutual recognition-requires rethinking and unlearning in ways that challenge colonial epistemologies. Showing how knowledge is not something to be harvested but a process of being, knowing, and acting with others, Taylor models a way for scholarship to be present in political struggles.

In The Cry of the Senses, Ren Ellis Neyra examines the imaginative possibility for sound and poetics to foster new modes of sensorial solidarity in the Caribbean Americas. Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies. They locate and address the sonic in its myriad manifestations-across genres and forms, in a legal trial, and in the art and writing of Xandra Ibarra, the Fania All-Stars, Beatriz Santiago MuÑoz, Édouard Glissant, and Eduardo Corral-while demonstrating how it operates as a raucous form of diasporic dissent and connectivity. Throughout, Ellis Neyra emphasizes Caribbean and Latinx sensorial practices while attuning readers to the many forms of blackness and queerness. Tracking the sonic through their method of multisensorial, poetic listening, Ellis Neyra shows how attending to the senses can inspire alternate, ethical ways of collective listening and being.

In Another Aesthetics Is Possible Jennifer Ponce de LeÓn examines the roles that art can play in the collective labor of creating and defending another social reality. Focusing on artists and art collectives in Argentina, Mexico, and the United States, Ponce de LeÓn shows how experimental practices in the visual, literary, and performing arts have been influenced by and articulated with leftist movements and popular uprisings that have repudiated neoliberal capitalism and its violence. Whether enacting solidarity with Zapatista communities through an alternate reality game or using surrealist street theater to amplify the more radical strands of Argentina's human rights movement, these artists fuse their praxis with forms of political mobilization from direct-action tactics to economic resistance. Advancing an innovative transnational and transdisciplinary framework of analysis, Ponce de LeÓn proposes a materialist understanding of art and politics that brings to the fore the power of aesthetics to both compose and make visible a world beyond capitalism.

In The Cry of the Senses, Ren Ellis Neyra examines the imaginative possibility for sound and poetics to foster new modes of sensorial solidarity in the Caribbean Americas. Weaving together the black radical tradition with Caribbean and Latinx performance, cinema, music, and literature, Ellis Neyra highlights the ways Latinx and Caribbean sonic practices challenge antiblack, colonial, post-Enlightenment, and humanist epistemologies. They locate and address the sonic in its myriad manifestations-across genres and forms, in a legal trial, and in the art and writing of Xandra Ibarra, the Fania All-Stars, Beatriz Santiago MuÑoz, Édouard Glissant, and Eduardo Corral-while demonstrating how it operates as a raucous form of diasporic dissent and connectivity. Throughout, Ellis Neyra emphasizes Caribbean and Latinx sensorial practices while attuning readers to the many forms of blackness and queerness. Tracking the sonic through their method of multisensorial, poetic listening, Ellis Neyra shows how attending to the senses can inspire alternate, ethical ways of collective listening and being.

In Another Aesthetics Is Possible Jennifer Ponce de LeÓn examines the roles that art can play in the collective labor of creating and defending another social reality. Focusing on artists and art collectives in Argentina, Mexico, and the United States, Ponce de LeÓn shows how experimental practices in the visual, literary, and performing arts have been influenced by and articulated with leftist movements and popular uprisings that have repudiated neoliberal capitalism and its violence. Whether enacting solidarity with Zapatista communities through an alternate reality game or using surrealist street theater to amplify the more radical strands of Argentina's human rights movement, these artists fuse their praxis with forms of political mobilization from direct-action tactics to economic resistance. Advancing an innovative transnational and transdisciplinary framework of analysis, Ponce de LeÓn proposes a materialist understanding of art and politics that brings to the fore the power of aesthetics to both compose and make visible a world beyond capitalism.

In Unsettled Borders Felicity Amaya Schaeffer examines the ongoing settler colonial war over the US-Mexico border from the perspective of Apache, Tohono O’odham, and Maya who fight to protect their sacred land. Schaeffer traces the scientific and technological development of militarized border surveillance across time and space from Spanish colonial lookout points in Arizona and Mexico to the Indian wars, when the US cavalry hired Native scouts to track Apache fleeing into Mexico, to the occupation of the Tohono O’odham reservation and the recent launch of robotic bee swarms. Labeled “Optics Valley,” Arizona builds on a global history of violent dispossession and containment of Native peoples and migrants by branding itself as a profitable hub for surveillance. Schaeffer reverses the logic of borders by turning to Indigenous sacredsciences: ancestral land-based practices that are critical to reversing the ecological and social violence of surveillance, extraction, and occupation.

In Planetary Longings eminent cultural theorist Mary Louise Pratt posits that the last decade of the twentieth century and the first decades of the twenty-first mark a turning point in the human and planetary condition. Examining the forces of modernity, neoliberalism, coloniality, and indigeneity in their pre- and postmillennial forms, Pratt reflects on the crisis of futurity that accompanies the millennial turn in relation to environmental disaster and to the new forms of thinking it has catalyzed. She turns to 1990s Latin American vernacular culture, literary fiction, and social movements, which simultaneously registered neoliberalism’s devastating effects and pursued alternate ways of knowing and living. Tracing the workings of colonialism alongside the history of anticolonial struggles and Indigenous mobilizations in the Americas, Pratt analyzes indigeneity both as a key index of coloniality, neoliberal extraction, and ecological destruction, and as a source for alternative modes of thought and being. Ultimately, Pratt demonstrates that the changes on either side of the millennium have catalyzed new forms of world-making and knowledge-making in the face of an unknowable and catastrophic future.

In Puta Life, Juana MarÍa RodrÍguez probes the ways that sexual labor and Latina sexuality become visual phenomena. Drawing on state archives, illustrated biographies, documentary films, photojournalistic essays, graphic novels, and digital spaces, she focuses on the figure of the puta-the whore, that phantasmatic figure of Latinized feminine excess. RodrÍguez’s eclectic archive features the faces and stories of women whose lives have been mediated by sex work's stigmatization and criminalization-washerwomen and masked wrestlers, porn stars and sexiles. RodrÍguez examines how visual tropes of racial and sexual deviance expose feminine subjects to misogyny and violence, attuning our gaze to how visual documentation shapes perceptions of sexual labor. Throughout this poignant and personal text, RodrÍguez brings the language of affect and aesthetics to bear upon understandings of gender, age, race, sexuality, labor, disability, and migration. Highlighting the criminalization and stigmatization that surrounds sex work, she lingers on those traces of felt possibility that might inspire more ethical forms of relation and care.

In Disappearing Rooms Michelle CastaÑeda lays bare the criminalization of race enacted every day in US immigration courts and detention centers. She uses a performance studies perspective to show how the theatrical concept of mise-en-scÈne offers new insights about immigration law and the absurdist dynamics of carceral space. CastaÑeda draws upon her experiences in immigration trials as an interpreter and courtroom companion to analyze the scenography-lighting, staging, framing, gesture, speech, and choreography-of specific rooms within the immigration enforcement system. CastaÑeda’s ethnographies of proceedings in a “removal” office in New York City, a detention center courtroom in Texas, and an asylum office in the Northeast reveal the depersonalizing violence enacted in immigration law through its embodied, ritualistic, and affective components. She shows how the creative practices of detained and disappeared people living under acute duress imagine the abolition of detention and borders. Featuring original illustrations by artist-journalist Molly Crabapple, Disappearing Rooms shines a light into otherwise hidden spaces of law within the contemporary deportation regime.Duke University of Press Scholars of Color First Book Award Recipient

In The Force of Witness Rosa-Linda Fregoso examines the contra feminicide movement in Mexico and other feminist efforts to eradicate gender violence. Drawing on interviews, art, documentaries, and her years of activism, Fregoso traces the micro and macro scales of misogyny and the patterns of state complicity with gender violence. She shows how different forms of witnessing-from activist-mothers’ bearing witness to the memories of their daughters and expert witnesses in court cases to communal witnessing and a scholar-activist-citizen witnessing her own actions-are key to resisting feminicidal violence. Fregoso situates these forms of witness in the histories, contexts, structures, bodies, and intersectional struggles they emerge from. By outlining the complexities of feminicidal violence in relation to witnessing processes, Fregoso challenges the notion of witness as an individual or autonomous subject inscribed solely in the legal or religious arenas. Rather, she theorizes witness as a force of collectivity and a constellation of multiple social locations and intersectional practices that work together to abolish feminicidal violence.

In Unsettled Borders Felicity Amaya Schaeffer examines the ongoing settler colonial war over the US-Mexico border from the perspective of Apache, Tohono O’odham, and Maya who fight to protect their sacred land. Schaeffer traces the scientific and technological development of militarized border surveillance across time and space from Spanish colonial lookout points in Arizona and Mexico to the Indian wars, when the US cavalry hired Native scouts to track Apache fleeing into Mexico, to the occupation of the Tohono O’odham reservation and the recent launch of robotic bee swarms. Labeled “Optics Valley,” Arizona builds on a global history of violent dispossession and containment of Native peoples and migrants by branding itself as a profitable hub for surveillance. Schaeffer reverses the logic of borders by turning to Indigenous sacredsciences: ancestral land-based practices that are critical to reversing the ecological and social violence of surveillance, extraction, and occupation.

In Planetary Longings eminent cultural theorist Mary Louise Pratt posits that the last decade of the twentieth century and the first decades of the twenty-first mark a turning point in the human and planetary condition. Examining the forces of modernity, neoliberalism, coloniality, and indigeneity in their pre- and postmillennial forms, Pratt reflects on the crisis of futurity that accompanies the millennial turn in relation to environmental disaster and to the new forms of thinking it has catalyzed. She turns to 1990s Latin American vernacular culture, literary fiction, and social movements, which simultaneously registered neoliberalism’s devastating effects and pursued alternate ways of knowing and living. Tracing the workings of colonialism alongside the history of anticolonial struggles and Indigenous mobilizations in the Americas, Pratt analyzes indigeneity both as a key index of coloniality, neoliberal extraction, and ecological destruction, and as a source for alternative modes of thought and being. Ultimately, Pratt demonstrates that the changes on either side of the millennium have catalyzed new forms of world-making and knowledge-making in the face of an unknowable and catastrophic future.

In Puta Life, Juana MarÍa RodrÍguez probes the ways that sexual labor and Latina sexuality become visual phenomena. Drawing on state archives, illustrated biographies, documentary films, photojournalistic essays, graphic novels, and digital spaces, she focuses on the figure of the puta-the whore, that phantasmatic figure of Latinized feminine excess. RodrÍguez’s eclectic archive features the faces and stories of women whose lives have been mediated by sex work's stigmatization and criminalization-washerwomen and masked wrestlers, porn stars and sexiles. RodrÍguez examines how visual tropes of racial and sexual deviance expose feminine subjects to misogyny and violence, attuning our gaze to how visual documentation shapes perceptions of sexual labor. Throughout this poignant and personal text, RodrÍguez brings the language of affect and aesthetics to bear upon understandings of gender, age, race, sexuality, labor, disability, and migration. Highlighting the criminalization and stigmatization that surrounds sex work, she lingers on those traces of felt possibility that might inspire more ethical forms of relation and care.

In Disappearing Rooms Michelle CastaÑeda lays bare the criminalization of race enacted every day in US immigration courts and detention centers. She uses a performance studies perspective to show how the theatrical concept of mise-en-scÈne offers new insights about immigration law and the absurdist dynamics of carceral space. CastaÑeda draws upon her experiences in immigration trials as an interpreter and courtroom companion to analyze the scenography-lighting, staging, framing, gesture, speech, and choreography-of specific rooms within the immigration enforcement system. CastaÑeda’s ethnographies of proceedings in a “removal” office in New York City, a detention center courtroom in Texas, and an asylum office in the Northeast reveal the depersonalizing violence enacted in immigration law through its embodied, ritualistic, and affective components. She shows how the creative practices of detained and disappeared people living under acute duress imagine the abolition of detention and borders. Featuring original illustrations by artist-journalist Molly Crabapple, Disappearing Rooms shines a light into otherwise hidden spaces of law within the contemporary deportation regime.Duke University of Press Scholars of Color First Book Award Recipient

In The Force of Witness Rosa-Linda Fregoso examines the contra feminicide movement in Mexico and other feminist efforts to eradicate gender violence. Drawing on interviews, art, documentaries, and her years of activism, Fregoso traces the micro and macro scales of misogyny and the patterns of state complicity with gender violence. She shows how different forms of witnessing-from activist-mothers’ bearing witness to the memories of their daughters and expert witnesses in court cases to communal witnessing and a scholar-activist-citizen witnessing her own actions-are key to resisting feminicidal violence. Fregoso situates these forms of witness in the histories, contexts, structures, bodies, and intersectional struggles they emerge from. By outlining the complexities of feminicidal violence in relation to witnessing processes, Fregoso challenges the notion of witness as an individual or autonomous subject inscribed solely in the legal or religious arenas. Rather, she theorizes witness as a force of collectivity and a constellation of multiple social locations and intersectional practices that work together to abolish feminicidal violence.

In Visual Disobedience, Kency Cornejo traces the emergence of new artistic strategies for Indigenous, feminist, and anticarceral resistance in the wake of torture, disappearance, killings, and US-funded civil wars in Central America. Cornejo reveals a direct line from US intervention to current forms of racial, economic, and gender injustice in the isthmus, connecting this to the criminalization and incarceration of migrants at the US-Mexico border today. Drawing on interviews with Central American artists and curators, she theorizes a form of “visual disobedience” in which art operates in opposition to nation-states, colonialism, and visual coloniality. She counters historical erasure by examining over eighty artworks and highlighting forty artists across the region. Cornejo also rejects the normalized image of the suffering Central American individual by repositioning artists as creative agents of their own realities. With this comprehensive exploration of contemporary Central American art, Cornejo highlights the role of visual disobedience as a strategy of decolonial aesthetics to expose and combat coloniality, heteropatriarchy, white supremacy, empire, and other systems of oppression.

Rio as Method provides a new set of lenses for apprehending and transforming the world at critical junctures. Challenging trends that position Global South scholars as research informants or objects, this Rio de Janeiro-based network of scholars, activists, attorneys, and political leaders center their Brazilian megacity as a globally relevant source for transformational world-making insights. Presenting this volume as a handbook and manifesto for energizing public engagement and direct action, more than forty contributors reconceive method as a politics of knowledge production that animates new ways of being, seeing, and doing politics. They draw on lessons from the city’s intersecting religious, feminist, queer, Black, Indigenous, and urbanist movements to examine issues ranging from state violence, urban marginalization, and moral panic to anticorruption efforts, paramilitary policing, sex work, and mutual aid. Rethinking theoretical and collaborative research methods, Rio as Method models theories of decolonial analysis and concepts of collective resistance that can be taken up by scholar-activists anywhere.Contributors. Rosiane Rodrigues de Almeida, JosÉ Claudio Souza Alves, Tamires Maria Alves, Paul Amar, Marcelo Caetano Andreoli, Beatriz Bissio, Thaddeus Gregory Blanchette, Fernando Brancoli, Thayane BrÊtas, Victoria Broadus, Fatima Cecchetto, Leonard Cortana, Marcos Coutinho, Monica Cunha, Luiz Henrique Eloy Amado, Marielle Franco, Cristiane Gomes JuliÃo, Benjamin Lessing, Roberto Kant de Lima, Amanda De Lisio, Bryan McCann, FlÁvia Medeiros, Ana Paula Mendes de Miranda, Sean T. Mitchell, Rodrigo Monteiro, VitÓria Moreira, Jacqueline de Oliveira Muniz, Laura Rebecca Murray, Cesar Pinheiro Teixeira, Osmundo Pinho, Paulo Pinto, MarÍa Victoria Pita, JoÃo Gabriel Rabello SodrÉ, Luciane Rocha, Marcos Alexandre dos Santos Albuquerque, Ana Paula da Silva, Denise Ferreira da Silva, Soraya SimÕes, Indianare Siqueira, Antonio Carlos de Souza Lima, Leonardo Vieira Silva

In Hemispheric Blackface, Danielle Roper examines blackface performance and its relationship to twentieth- and twenty-first-century nationalist fictions of mestizaje, creole nationalism, and other versions of postracialism in the Americas. Challenging both the dominance of the US minstrel tradition and the focus on the nation in blackface studies, Roper maps a hemispheric network of racial impersonation in Peru, Bolivia, Colombia, Jamaica, Cuba, and Miami. She analyzes blackface performance in the aftermath of the turn to multiculturalism in Latin America, the emergence of modern blackness in Jamaica, and the rise of Barack Obama in the United States, showing how blackface remains embedded in cultural entertainment. Contending that the Americas are linked by repeating nationalist fictions of postracialism, colorblindness, and myths of racial democracy, Roper assesses how acts of impersonation mediate the ongoing power of these narratives and enable people to comprehend advancements and reversals in racial equality. Rather than simply framing blackface as liberatory or oppressive, Roper traces its emergence from a shared history of slavery and the varied politics of racial enjoyment throughout the hemisphere.

In Queer Traffic, Jennifer Tyburczy traces how sexual dissidents across the Mexico-Canada-US borderlands transport the objects and experiences that nourish their sexual and social lives. She situates the North American Free Trade Agreement (NAFTA) as a pivot point in the formation of panics aimed at stamping out these outlaw sex practices. Highlighting NAFTA’s erotic investments in hetero- and homonormativity, racial capitalism, markets of dispossession, and neocolonialism, Tyburczy directly engages with art, activism, and archives to revisit the struggles of people who invented circuits of sexual exchange through four decades of violence and criminalization. In conversing with actors from bureaucrats to pornographers and in studying choreographies, social movements, and street vocabularies, she examines an array of tactics that undermine the market logics of trade law and policy. Dreaming of other forms of living that go beyond mere survival, Queer Traffic guides us through the renegade pathways that circumvent the seemingly endless reach of free-trade capitalism toward other routes to pleasure.

In Performances of Spiral Time, famed Afro-Brazilian thinker Leda Maria Martins theorizes forms of African and African diasporic temporality, corporeality, and space that exist apart from and critique Eurocentric notions of linear time. Martins introduces the notion of “spiral time” - curved and recurrent temporalities materialized in Black corporealities in which the body is the place of the inscription of memory and knowledge. She draws on African and African diasporic philosophy as well as the ritual performance and quotidian practices of Afro-Brazilians, arguing that spiral time is most powerfully expressed by the moving body. Embodied performance - whether manifested as capoeira, Candomblé, or theater - and the influence of oral traditions, sacredness, and ancestrality, cause time and memory to curve and return. With this theorization, Martins not only counters claims to the dominance of Western linear time; she provides a polyvalent and foundational account of African and African diasporic thought and ontology.

In Acoustic Colonialism, Luis E. CÁrcamo-Huechante examines the role of sound in Chilean and Mapuche cultural production over the last two centuries. CÁrcamo-Huechante theorizes sound as a territory of racial, patriarchal, and colonial hegemony as well as of Mapuche struggle, agency, and response to what he calls "acoustic colonialism." From the mid-nineteenth century to the present, Chilean literature, radio, and other media have exerted a historic role in disseminating distorted visual and sonic representations of the Mapuche. The enduring effects of what CÁrcamo-Huechante defines as the colonial ear - the entry point for these misrepresentations - reflect the logic of the Chilean settler nation-state. In response to these aural and sonorous figurations, contemporary Mapuche writers, artists, and activists have produced their own literary, radiophonic, vocal, and musical expressions. The voices, sounds, and discourses of these Mapuche productions contest and disrupt the acoustic colonialism that has dominated the soundscape of the territory designated in present-day cartography as central and southern Chile.

In Visual Disobedience, Kency Cornejo traces the emergence of new artistic strategies for Indigenous, feminist, and anticarceral resistance in the wake of torture, disappearance, killings, and US-funded civil wars in Central America. Cornejo reveals a direct line from US intervention to current forms of racial, economic, and gender injustice in the isthmus, connecting this to the criminalization and incarceration of migrants at the US-Mexico border today. Drawing on interviews with Central American artists and curators, she theorizes a form of “visual disobedience” in which art operates in opposition to nation-states, colonialism, and visual coloniality. She counters historical erasure by examining over eighty artworks and highlighting forty artists across the region. Cornejo also rejects the normalized image of the suffering Central American individual by repositioning artists as creative agents of their own realities. With this comprehensive exploration of contemporary Central American art, Cornejo highlights the role of visual disobedience as a strategy of decolonial aesthetics to expose and combat coloniality, heteropatriarchy, white supremacy, empire, and other systems of oppression.

Rio as Method provides a new set of lenses for apprehending and transforming the world at critical junctures. Challenging trends that position Global South scholars as research informants or objects, this Rio de Janeiro-based network of scholars, activists, attorneys, and political leaders center their Brazilian megacity as a globally relevant source for transformational world-making insights. Presenting this volume as a handbook and manifesto for energizing public engagement and direct action, more than forty contributors reconceive method as a politics of knowledge production that animates new ways of being, seeing, and doing politics. They draw on lessons from the city’s intersecting religious, feminist, queer, Black, Indigenous, and urbanist movements to examine issues ranging from state violence, urban marginalization, and moral panic to anticorruption efforts, paramilitary policing, sex work, and mutual aid. Rethinking theoretical and collaborative research methods, Rio as Method models theories of decolonial analysis and concepts of collective resistance that can be taken up by scholar-activists anywhere.Contributors. Rosiane Rodrigues de Almeida, JosÉ Claudio Souza Alves, Tamires Maria Alves, Paul Amar, Marcelo Caetano Andreoli, Beatriz Bissio, Thaddeus Gregory Blanchette, Fernando Brancoli, Thayane BrÊtas, Victoria Broadus, Fatima Cecchetto, Leonard Cortana, Marcos Coutinho, Monica Cunha, Luiz Henrique Eloy Amado, Marielle Franco, Cristiane Gomes JuliÃo, Benjamin Lessing, Roberto Kant de Lima, Amanda De Lisio, Bryan McCann, FlÁvia Medeiros, Ana Paula Mendes de Miranda, Sean T. Mitchell, Rodrigo Monteiro, VitÓria Moreira, Jacqueline de Oliveira Muniz, Laura Rebecca Murray, Cesar Pinheiro Teixeira, Osmundo Pinho, Paulo Pinto, MarÍa Victoria Pita, JoÃo Gabriel Rabello SodrÉ, Luciane Rocha, Marcos Alexandre dos Santos Albuquerque, Ana Paula da Silva, Denise Ferreira da Silva, Soraya SimÕes, Indianare Siqueira, Antonio Carlos de Souza Lima, Leonardo Vieira Silva

In Hemispheric Blackface, Danielle Roper examines blackface performance and its relationship to twentieth- and twenty-first-century nationalist fictions of mestizaje, creole nationalism, and other versions of postracialism in the Americas. Challenging both the dominance of the US minstrel tradition and the focus on the nation in blackface studies, Roper maps a hemispheric network of racial impersonation in Peru, Bolivia, Colombia, Jamaica, Cuba, and Miami. She analyzes blackface performance in the aftermath of the turn to multiculturalism in Latin America, the emergence of modern blackness in Jamaica, and the rise of Barack Obama in the United States, showing how blackface remains embedded in cultural entertainment. Contending that the Americas are linked by repeating nationalist fictions of postracialism, colorblindness, and myths of racial democracy, Roper assesses how acts of impersonation mediate the ongoing power of these narratives and enable people to comprehend advancements and reversals in racial equality. Rather than simply framing blackface as liberatory or oppressive, Roper traces its emergence from a shared history of slavery and the varied politics of racial enjoyment throughout the hemisphere.