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Analyzing how Peruvian feminist art and activism subverts and reclaims the chola stereotype to confront colonial and patriarchal institutions. Indigenous Andean women have long been derided in Peru, spurned by colonial and then national elites as depraved
cholas. Olga Rodríguez-Ulloa shows how contemporary artists and activists not only reclaim this term of abuse but also mobilize the stereotype of the angry and perverted chola to confront the cruelties of patriarchy, capitalism, and white supremacy.
Sadistic Cholas examines music, visual arts, literature, and grassroots organizing by self-identified cholas—in particular, Black women and trans and queer feminists. Under colonial domination, cholas were destined for sexual coercion, labor extraction, and reproductive exploitation. While exhuming historical traces of chola resistance, Rodríguez-Ulloa argues that this condition of oppression persisted through the internal war of the 1980s, when Marxist women at the forefront of the armed campaign were condemned as hypersexual deviants. Inspired by their leftist forebears, today’s artists experiment with an aesthetic of sadistic vengeance, configured as rightful self-defense. Yet, in spite of their violent imagery, activist cholas pursue nonviolent goals, promoting a commons of care incorporating people, animals, and the environment.
List of contents
- List of Illustrations
- Introduction
- 1. Terruquearse, or the Politics of Chola Self-Representation
- 2. Chola Flesh: The Makings of New Mythologies
- 3. From Gamonalista Memory to Chola Gaze
- 4. Chola and Negra Fiery Intimacies
- Coda: Salient Geographies
- Acknowledgments
- Notes
- Index
About the author
Olga Rodríguez-Ulloa is an assistant professor of American studies and Latino studies at Indiana University, Bloomington. She is a contributor to
Bodies in the Line: Gender, Sexuality, and Performance in Latin America and the Caribbean.
