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feminist Rebellion Reina Sofía

is one of the videos Maria Galindo, Women's Building of Bolivia, has for exposure Top Potosí. How can we sing the Lord's song in a strange land? which takes place at the Reina Sofia until 6 September. Lady Barbie centrifuged Marian Catholic tradition offenders results.

A group of women carrying on their shoulders on a litter to a white woman dressed in Baroque Virgen. The fabric of her dress is printed with Disney Princesses, and adorned with lots of Barbie dolls strung. The procession through the streets and stops at the top of a hill which offers an impressive view of La Paz. There Lady Barbie begins his speech:

I do not want to be Lady Barbie. I do not want to be the patron of racism and the protector of capitalism. Not to be Virgin Barbie. I do not want to teach girls to hate their bodies brown [1] ...

Following the denial of fees provided for Western women, goes to the proposition: I do not want to be me . I want to be another. Cheerful, friendly, flawed, imperfect, loving ...

And then the singing to the mix, the mixing and heterogeneity as transformative political powers, which echoes resound writers and activists and American feminists Gloria Anzaldúa or Cherrie Moraga . The impurity and multiplicity are threats to imperialist fiction from which it has built the discourse of power. But also threaten the Indian fiction that Galindo is critical in Bolivia.

That behind my capitalism to collapse and lose even the gods and the virgins that underlie it. That behind me crumble racism and white behind it. The wombs of white women give birth to daughters brunettes. The brunette with blond children. And that love and pleasure mix us and we mix and stir us. To dilute all noble strains, patterns and owners the world ...

Lady of the litter down and naked. Her body is lacerated, insulted and humiliated by the patriarchy. Despite the model being sanctioned by the woman, or just for that, because women are not free and happy under the machismo, even if they are white and blonde. The main character is dressed by her new classmates in the traditional way of Bolivia and, immediately afterwards, washed the feet of all [2] .

One of the characteristics of the various works of Maria Galindo is the ability to sense and decode that offer to anyone who sees them, effectively combined with such rich symbolism the more you know, the more aspects you can play. An equally accurate combines direct political denunciation poetry, seducing and leaving an exhilarating sense of beauty in revolt. Galindo reappropriates patriarchal imagery actively subvert established modes of representation and expression phallogocentric the experience of women, which tend to reduce the irrepresentability. Lady Barbie materializes in your body an active process of becoming as a condition and possibility an alternative vision of their subjectivity and sexuality.
In Europe
feminist writers like Luce Irigaray or Rosi Braidotti have written about the need for symbols for women. Irigaray proposes a strategy of mimesis, mimic the images and representations that have been assigned to women by patriarchal thinking, but only to undo them.

not want to be the Mother of God, of the civilized white god and conqueror. That God is orphan without a mother or a virgin. That the altars are empty. And the pulpits. I leave this altar mine. The abandonment of free choice. I'm going, I leave it empty. I want to live, heal me of all racism, all convictions, of all domination. I heal myself and be a single woman. Be like the music that only serves to gladden the hearts. I found that to be happy just have to give up your privilege, your virtues and perfections. Proclaimed the futility of privileges. The sadness of the altar. The death of capitalism.

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[1] fragments in italics are Maria Galindo and belong to the discourse of the Virgin Barbie.

[2] Galindo held in La Paz this act of washing the feet of the women's movement debtor defrauded by micro-credit policy came to the capital after a march of days, an action for which he was beaten.