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<dc:title xml:lang="en-US">Techno-kitsch.: Vogue, violence and the night at House of Apocalypstick</dc:title>
<dc:title xml:lang="es-ES">Tecno-kitsch. : Vogue, violencia y la noche en House of Apocalipstick</dc:title>
<dc:creator>Tenorio, David</dc:creator>
<dc:subject xml:lang="es-ES">Vogue</dc:subject>
<dc:subject xml:lang="es-ES">Tecno-kitsch</dc:subject>
<dc:subject xml:lang="es-ES">Performance nocturno</dc:subject>
<dc:subject xml:lang="es-ES">Praxis feminista</dc:subject>
<dc:subject xml:lang="es-ES">México</dc:subject>
<dc:subject xml:lang="en-US">Vogue</dc:subject>
<dc:subject xml:lang="en-US">Tecno-kitsch</dc:subject>
<dc:subject xml:lang="en-US">Feminist praxis</dc:subject>
<dc:subject xml:lang="en-US">Night performance</dc:subject>
<dc:subject xml:lang="en-US">Mexico</dc:subject>
<dc:description xml:lang="en-US">Who can inhabit the night? What kinds of senses and affects shape queer and trans of color nightlife? How do we deal with the force of violence when the sun goes down in a country like Mexico? Queer and trans visibility in Mexico City have generated a great academic interest, shaping research agendas, theories and interventions that sustain an impetus for categorization, and for the production of a genealogy of sexual and gender dissidence in the Americas. However, the matrix that informs such knowledge formations are enmeshed within a Western rationality that responds to a classed and racialized elitism of academic institutions. The knowledge of the night, which revolves around issues of corporeality, materiality and affectivity, etc., of sexual and gender dissident collectivities, also self-called transmarilenchas, informs a larger feminist praxis around affect, pleasure and care. The g-local expansion of neoliberalism over the Mexico City translates into complex processes of gentrification, privatization and commodification of public spaces that support queer and trans of color nightlife. These neoliberal moves toward a “productive” citizenry are further complicated by the necropolitical machine of the 21st century, the state-church-narcocorporation. In this sense, how does violence shape queer and trans night sensibilities? Despite the necroliberal violence of recent years, sexually dissident groups have insisted on a decorporalization of violence through movement, reclaiming values of femininity, and thus challenging the andropatriarchal borders that exclude the night’s affects from the body. At the intersection of performance and affect, this article deals with the cultural practices of House of Apocalipstick, a dance collective composed of trans women and men, lesbians, queens, transvestites, drag queens and kings who practice voguing. In particular, I tease out “the ethics of aesthetics” that stands out in the novel Such is Life in Banana Republic(2014) written by the house mother Franka Polari, as well as in the vogue performance of documentary House of Apocalipstick (2015). Beyond challenging traditional forms of writing, literality and capture, the fusion between body, music and movement plays with transtemporal/transregional affects of voguing, whose origins date back to Harlem’s trans/queer counterculture in the 80s. House of Apocalipstick thus exposes a feminine-affective kinesthesis around voguing that, anchored in nightlife, emerges as a bodily twist to mediate the consequences of daily violence, reclaiming other ways of feeling nighttime pleasures from a feminist praxis referred as techno-kitsch.</dc:description>
<dc:description xml:lang="es-ES">
¿Quiénes pueden ocupar la noche? ¿qué tipo de sensaciones y afectos dan forma a la vida nocturna sexo-disente? ¿cómo se encara la fuerza de la violencia cuando baja el sol en un país como México? La visibiliad que han adquirido las prácticas culturales, afectivas y sensoriales de los colectivos sexo-disidentes de la Ciudad de México ha traido consigo un gran interés por parte de la industria acdémica en categorizar, nomenclaturar y producir una genealogía de la disidencia sexo-genérica. No obstante, la matriz productora de este conocimiento se encuentra ligada a la racionalidad occidental y al elitismo cultural de la institucionalidad académica. El saber de la noche, que gira en torno a la corporalidad, la materialidad y la afectividad, de las colectividades sexo-disidentes, también autollamadas transmarilenchas, se concibe como parte de una praxis más amplia en torno al cariño, al placer y al cuidado. La expansión g-local del neoliberalismo sobre la urbe mexicana se traduce en procesos complejos de gentrificazión, privatización y comodificación de los espacios públicos que sostienen la vida nocturna. Asimismo, tales gestos neoliberales se conjugan al triumvirato necropolítico del estado-iglesia-narcocorporación del siglo XXI. En este sentido, ¿cómo se afrenta esta quimera desde la nocturnidad? A pesar de la violencia necroliberal de los últimos años, los colectivos sexo-disidentes han insistido en una descorporalización de la violencia a través del movimiento y la exaltación de los valores de la feminidad, dinamitando así las fronteras andropatriarcales que separan el cuerpo y el afecto de la noche popular. Desde los estudios del performance y del afecto, este artículo se acera a las prácticas culturales de House of Apocalipstick, un colectivo sexo-género-disidente que, compuesto por mujeres y hombres trans, lesbianas, maricas, travestis, drag queens y kings, se congrega bajo la sombra del vogue. Particularmente, se despunta “la ética de la estética” en la noveleta Such is Life in Banana Republic (2014) de su autora Franka Polari, así como en el performance de vogue del corto documental House of Apocalipstick (2015). Más allá de un cuestionamiento de las formas tradicionales de escritura, literalidad y captura, la fusión entre cuerpo, música y movimiento juega con el afecto transtemporal/transregional del voguing, cuyos orígenes se remontan a la contracultura trans/queer del Hárlem de los años 80. House of Apocalipstick expone así una cinestecia femino-afectiva en torno al voguing que, en el cuerpo de la noche, emerge como torcedura que sortea las consecuencias de la violencia cotidiana, reivindicando otras maneras de sentir el placer nocturno desde una praxis feminista, que aquí denomino tecno-kitsch.
</dc:description>
<dc:publisher xml:lang="es-ES">Centro Interdisciplinario de Literatura Hispanoamericana (CILHA)</dc:publisher>
<dc:date>2021-07-07</dc:date>
<dc:type>info:eu-repo/semantics/article</dc:type>
<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
<dc:format>text/xml</dc:format>
<dc:format>application/pdf</dc:format>
<dc:identifier>https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4835</dc:identifier>
<dc:identifier>10.48162/rev.34.010</dc:identifier>
<dc:source xml:lang="es-ES">Cuadernos del CILHA; Núm. 34 (2021): Dosier: Cartografías culturales: entre efectos y afectos de la violencia de género; 1-23</dc:source>
<dc:source>1852-9615</dc:source>
<dc:source>1515-6125</dc:source>
<dc:language>spa</dc:language>
<dc:relation>https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4835/4476</dc:relation>
<dc:relation>https://revistas.uncu.edu.ar/ojs3/index.php/cilha/article/view/4835/3711</dc:relation>
<dc:rights xml:lang="es-ES">Derechos de autor 2021 David Tenorio</dc:rights>
<dc:rights xml:lang="es-ES">https://creativecommons.org/licenses/by-nc/2.5/ar/</dc:rights>
</oai_dc:dc>
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