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Published online by Cambridge University Press: 27 May 2010
The female body both as the locus for interrogating ideological, economical, political and social discourses, and for the transference of ideas, histories, myths, traditions and, ultimately, actions, is considered here in an analysis of Jesusa Rodríguez and Liliana Felipe's El Maíz.
1 See Costantino, Roselyn, ‘Visibility as Strategy: Jesusa Rodriguez's Body in Play’ in Fusco, Coco, ed., Corpus Delecti Performance Art of the Americas (New York: Routledge, 2000), pp. 63–77, here p. 63Google Scholar.
3 Costantino, ‘Visibility as Strategy’, p. 72.
4 Mestiza/o: someone of mixed European and indigenous descent.
5 Active during the 1920s and the 1930s in Mexico and Peru, indigenismo was a Latin American political and literary movement that advocated a dominant social and political role for indigenous peoples in countries where they made up a majority of the population. Echoed by the Chicanas/os in the US during the 1960 and 1970s, indigenismo was inherently flawed and did not translate into actions leading to an effective social transformation for indigenous peoples. Mainly paternalistic in nature, this movement did not come from indigenous peoples themselves, but was taken up by the mestizo class.
6 My translation.