Abstracts:

This essay is an examination of the llanto (wail) as political performance praxis through documenting and reflecting on the collective work of Cherríe Moraga, Celia Herrera Rodríguez and approximately twenty-five artists to stage a PerformaProtesta," Un llanto colectivo, at San Diego immigrant detention centers following the separation of migrant families during the summer of 2018. As such, it looks to the llanto—here collectivity produced—as a powerful act of refusal that, in addition to asserting dissent and iterating a contestation of centuries of sedimented violence, hollows out and routes time-bending pathways to ancestral alter-knowledges. The essay examines this "llanto space" as an alternative to the politics of recognition and representation, and the different ways via which it instantiates a refusal of these modalities. Furthermore, it reflects on the history of affect-generating crying through professional criers and the figure of La Llorona as inspirations for the 2018 PerformaProtesta; it also engages with transnational feminist movements that activate collective wails and screams to demand an end to gendered violence. The essay then turns to a close-reading of the three day event, reflecting on the unique politics of the llanto in relation to the other narrative and theatrical elements of the performance.

摘要：

本文通过记录和反思 Cherríe Moraga、Celia Herrera Rodríguez 和大约 25 名艺术家在圣地亚哥移民举办的 PerformaProtesta（“ Un llanto colectivo”）的集体作品，对作为政治表演实践的llanto （哀号）进行了考察。 2018 年夏天移民家庭离散后，拘留中心出现了这样的情况。因此，它认为兰托（这里产生的集体）是一种强有力的拒绝行为，除了表达异议和重复几个世纪以来积淀的暴力的争论之外，挖空并开辟通向祖先的替代知识的时间弯曲路径。这篇文章探讨了这个“ llanto”“空间”作为承认和代表政治的替代方案，以及它通过不同的方式来实例化对这些模式的拒绝。此外，它还反思了通过专业哭泣者产生情感的哭泣的历史以及作为灵感的拉洛罗纳的形象2018 年 PerformaProtesta；它还参与了跨国女权主义运动，这些运动激发了集体哀嚎和尖叫，要求结束性别暴力。然后本文转而仔细阅读为期三天的活动，反思兰托的独特政治与表演的其他叙事和戏剧元素的关系。