This study assesses the deployment of blackface in a performance of the Danza de Caporales at La Fiesta de la Virgen de la Candelaria in Puno, Peru, by the performance troupe Sambos Illimani con Sentimiento y Devoción. Since blackface is so widely associated with the nineteenth-century US blackface minstrel tradition, this article develops the concept of “hemispheric blackface” to expand common understandings of the form. It historicizes Sambos’ deployment of blackface within an Andean performance tradition known as the Tundique, and then traces the way multiple hemispheric performance traditions can converge in a single blackface act. It underscores the amorphous nature of blackface itself and critically assesses its role in producing anti-blackness in the performance.
In 2017 the radical women’s rights group known as the Tambourine Army emerged in response to gender-based violence, sexual abuse, and structures of impunity in Jamaica. The group used hashtags, organized marches, and teach-ins to encourage women to speak out against their abusers, to break the silence surrounding sexual abuse, and to advocate for survivors. Situating the Tambourine Army within traditions of women’s protest and contemporary forms of cyberactivism in the Caribbean, this essay examines the ways the group enacted a sonic disruption to the public and cyber spheres. It chronicles the rise of the movement, explores the centrality of the digital in the members’ activism, and assesses the methods deployed in the group’s contestation of postcolonial ideals of respectability.
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