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Performing Violence Against Women in Contemporary Guatemala By

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Performing Violence Against Women in Contemporary Guatemala By Body Talk: Performing Violence against Women in Contemporary Guatemala By Maria Emilia da Costa Redondo Estrela Esteves Barbosa Submitted to the graduate degree program in the Spanish & Portuguese Department and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. ________________________________ Chairperson Prof. Vicky Unruh ________________________________ Chairperson Prof. Margot Versteeg _____________________________ Prof. Stuart Day ________________________________ Prof. Luciano Tosta ________________________________ Prof. Brent Metz Date Defended: April 26, 2016 ii The Dissertation Committee for Maria Emilia da Costa Redondo Estrela Esteves Barbosa certifies that this is the approved version of the following dissertation: Body Talk: Performing Violence against Women in Contemporary Guatemala ________________________________ Chairperson Prof. Vicky Unruh ________________________________ Chairperson Prof. Margot Versteeg Date approved: May 9, 2016 iii Abstract Drawing upon Diana Taylor’s concept of the repertoire, I propose that the performers’ and photographers’ use of the female body functions as a meta-language to denounce several types of violence against women. Guatemala offers a unique opportunity for the study of embedded issues of identity, indigeneity, and gender, which are at the core of the same structural ailments that lead to its 36-year armed conflict that influences today. This analysis contributes to the understanding of embodiments of violence and considers the ethical implications of reproducing violence against women. Even though there has been extensive ethnographic work on violence and its manifestations, very few scholars have worked with the new generation of female Guatemalan artists that explore violence through a practice of denunciation. I analyze performance work by Regina José Galindo, Rosa Chávez, and Sandra Monterroso, photography by Verónica Riedel and Rodrigo Abd, street protest by the Spanish Grupo de Autoconciencia Feminista (GAF), and an ethnographic exhibit by the Mesoamerican Regional Research Centre (CIRMA). The thread that unites my analyses is the embodiment of violence as seen through the lenses of what I call body talk. Body talk is the staged use of the performer’s body to convey meaning; it is a distinctive practice of non-verbal, non-discursive bodily communication that can be strategically used to promote acts of resistance. I conclude that ethnic and gender violence representations in contemporary Guatemala transcend language limitations and I explore the possibilities for the female body to create alternative spaces. In addition, I explore the impact and the challenges that embodiments of violence pose for distinct spectatorships, especially considering visceral synesthaetic responses. As far as future inquiries, body talk can easily be applied to better understand issues such as body manipulation, alteration and beauty contests related to the politics of indigeneity in Guatemala, and also mass-production, maquiladoras, and neoliberal female exploration in Central America. iv Dedication This dissertation is dedicated to the memory of my grandmother, Dulce Tavares Coelho da Costa Redondo. She was a woman of much strength and a true admirer or beauty, art, and science. Most of all she cherished her family and believed in education. She was also the first person ever to believe in my intellectual abilities. I miss her. v Acknowledgements There is an old saying: “It takes a village…” I believe it takes a community of people to graduate a student. Mentorship is fundamental and the way of the future. It is in this spirit that I would like to thank the following people because, in one way or another, my work would not have been possible without them and their contributions to my education. On the academic front: my Dissertation Committee members, professors Vicky Unruh, Margot Versteeg, Stuart Day, Luciano Tosta, and Brent Metz; my beloved teachers and mentors, professors Yajaira Padilla, Jorge Pérez, Jonathan Mayhew, Rosalea Postma-Carttar, Verónica Garibotto, Betsy Kuznesof, Laura Hobson Herlihy, John Hoopes, Tanya Golash Boza, Tamara Falicov, Ketty Wong, Susan B.Twombly, Janice Wright, Gérard Montbertrand, José Escobar, Luis Liñares-Ocanto, Maxwell Shaw, Irene Chico-Wyatt, Robin Holman, and the late Béatrice Stiglitz; my dear colleagues and fellow researchers, many of them my intellectual twin souls, Jacob Rapp, Lucía Maltez, Carola Ramirez Castello, Daniela Yordanova, Anne Justice, Lizzie Spayde-Barnes, Regan Postma-Montaño, Ian Gowan, Michael O’Brien, María José García Otero, Edma Delgado Solórzano, Kirstin Proffitt Olson, Pablo G. Celis Castillo, Raciel Alonso, Juan Manuel García, José García Prego, Stacy Lutsch, Erin Finzer, Patricia Tomé, Tracie Amend, Hernán García, Arturo Meijide Lápido, Antonio Moreno, Elizabeth Villalobos, María García Puente, Daniel Ares López, Cory Fischer-Hoffman, Grant Blanchon, Dovis Pollock, Meghan Farley Webb, Karen Acosta, Joshua Adam Anderson, Hispano Durón, Beatriz López-Prego, Marcela Risso, Pedro Mateo Pedro, Angela Kordahl Rapp, David Kaufman, Elena Brebenel, Ismael Hinojosa; outside of the University of Kansas, Virginia Bat, Patricia Foxen, Debra Rodman, Karine Vanthuyne, Sarah England, Shannon Drysdale Walsh, Josephine Rubia Johansson, Roselyn Costantino, Ellen Moodie, Lisa Maya Knauer, Tamar Diana Wilson, Tania Gómez, Edmé Dominguez, Diane M. Nelson, Rosalva Aída Hernández Castillo, Victoria Sanford, Yolanda Aguillar Urizar, Alison vi Crosby, M. Brinton Lykes, Pascha Bueno-Hansen, and Arturo Arias; my technical team: Jonathan Perkins, Michael Dehaven, Keah Cunningham, Shirley Wheeler, Rhonda Cook, Jill Marietta Mignacca, Sarah Willenbrink Sahin, and Don Allmon. On the artistic front: Regina José Galindo, Sandra Monterroso, María Adela Díaz, Jessica Lagunas, Roni Mocán, Rodrigo Abd, Sandra Montaño, Maya Chincilla, Jessica Masaya Portocarrero, Anabela Acevedo, Marcos Villatoro, Jacinta Escudos, Maurice Echeverría, Magdalenas Guate Teatro de las Oprimidas, Javito Payeras, Bordados Mayas, Collectivo Arrancacebollas, Las Poderosas Teatro, Ivan Lupi, Recmuric Centroamericana, Mujerestransformandoelmundo (Mtm), Actoras de Cambio, Movimiento De Artistas Mayas Rukux, Reinas Indígenas de Panajachel, Andamio Teatro Raro, Guatearte Teatro Arte Sin Fronteras, Las Cuerdas Guatemala, La Enredadera de Mujeres, Colectivo Trama, Oxfam Guatemala, Colectivo Buen Vivir, Mujeres Ixchel, and Poesía Insumisa Inobediente Rebelde. In Guatemala: Daniel Herrera and his beautiful family, Elizabeth Herrera Araña, and Hugo Peña. The sanity team: Sarah Haavik, Samantha Durland, Steven Ramberg, Elias Chediak, Carla Bonsignore, Ana María Villalba, Deborah Peterson, Randy Hacker, Paula Schnitker, Nancy Garfield, Therese Lawrence, Ruth Ann Bowman, Teresa Malarky, Bea Banano, Wendy Kim Luellen, Beth Dearinger, Mary Margareth Eisfelder, Samantha Stopple, Debbie Miller, Jim and Susan Bateman, Nice Borges, Sally J. McVey, Molly Harmon, Kate von Achen, Rafael Valdéz, Rachel Ybarra, Adriana Natali Sommerville, Lawanna Huslig-Hanks, Rebecca Power, Lourdes Olivares-Baker, Kristine Beaty, John and Tracy Fullerton, Tim and Charity Calandrino, Philippa Standley, Betsaida Reyes, JoAnna Writt, Sarah Bassett; outside of Lawrence, Kansas, Maria Manuel Candal, Nuno Monteiro Dente, Matthew Hanson-Weller, Anne E. Kraemer Díaz, vii Adriana Tolentino, Pedro Sabino, Rosário Cação, Francisco Silva, Mara Aubel, Carla e João Nuno Greno, Maria José Matos, João Murta, Ana Allen Gomes, Laura Estrela Esteves, Octávia L. da Silva, Edite Magalhães, António Ventura, Diogo Soares Machado, Catarina Cardoso Pereira, Rita Quintela, Elizabeth Carvalho, Ana Gaspar, José Luís Sousa, António Ataíde, Pedro Octávio Macário Lopes, Antonieta Ramos Abegoaria, Sofia Ramos Moura Ramalho, Susana Moura, João Fontes, Margarida Coelho Silva, Nito João Gonçalves, Filipa Viegas Abreu, Alexandra Viegas Abreu, Senhor T Fortuna, João Portugal Vieira, Susana Paiva, Cristina Barros, Eunice Araújo, António de Macedo, João Saboga, Filipe Menezes, Carla Reis, Diogo Alves, Francisco Nazareth, Miguel Direito, João Saraiva, Ana Luísa Brito, Margarida Torres, Yara Gutkin, F. Kent Queener, Tracie Rutler, Angeles Daurat Mackenzie, Natália Awgulewitsch, and to the late Jeremy Amouak. Lastly, on the home front: Paulo Alexandre Barbosa, Gabriel Filipe Barbosa, and Tomás Xavier Barbosa, Janice Wright, and Susan B. Twombly; outside of Lawrence, Kansas, Maria Isabel Redondo, Maria Margarida Redondo Amorim, António Rocha Quaresma, Ana Rita Amorim, Ana Filipa Amorim, Maria Teresa Cardoso, Francisco e Ana Maria Allen Gomes, Lucinda Maria Vinagreiro, Maria Fernanda Joaquina Ramos, and José Barbosa. viii Table of Contents Introduction……………………………………………………………………………... 1-25 Chapter 1: Out in the Open: Violence against Women as Public Spectacle…………... 26-63 Chapter 2: Flipping the Tortillera: Sandra Monterroso’s Hybrid Iconography in Tus tortillas mi amor………………………………………………………………..….. 64-122 Chapter 3: Re-Imagining the Archive: Verónica Riedel’s Reinas Indígenas Doubling For Latin America’s Foremothers ……………………………………………………… 123-174 Chapter 4: Violent Truths: Performing Memory and Embodying Violence in Guatemala......................................................................................................................... 175-222 Conclusion……………………………………………………………………………… 223-230 Bibliography …………………………………………………………………………… 231-250 Images and Appendix...…………………………………………………………………
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