Abstracts: This article examines the relationship between performance and historical memory in four works from Latin America and Spain: El cuerpo de la memoria (Chile, 1999), by Janet Toro; ¿Quién puede borrar las huellas? (Guatemala, 2003), by Regina José Galindo; La performance del caminar (Mexico, 2016), by Fabiola Rayas; and Enterrados (Spain, 2015), by Abel Azcona. Through shared aesthetic strategies, these performances employ repetition and physical and emotional pain to expose traumatic memories of a violent past and to establish memory rituals that challenge official narratives and regimes of silence. They also intervene in public space and contest its social meanings, transforming it into new sites of memory. Body and space thus function as central means of engaging with historical memory.
Juan Miguel Martínez Martínez (Sun,) studied this question.