You Are Here By Diana Taylor Summary

615 Words2 Pages

In “‘You Are Here’: The DNA of Performance”, Diana Taylor focuses on the Argentinean desaparecidos and analyzes the practices of the Madres de la Plaza de Mayo and the H.I.J.O.S. movement. Throughout the essay, Taylor highlights the differences and similarities between both movements. The Madres asked for aparición con vida, argued that encontrar a sus hijos era encontrarse a sí mismas, generally spoke from a place of protest and mourning, and restrained from directing their claims to direct individuals or organizations. H.I.J.O.S., on the other hand, ask for justice, believe in juicio y castigo, act from a position of joy and hope, can afford to be more confrontational, and never had to prove that their loved ones were missing. Despite such …show more content…

Although she admits to not having been able to organize her thoughts into one uninterrupted argument—and this is evident in the essay, that could have been better organized and less repetitive—I read her text as a proposition to continue to think about the relationship between performance and trauma. Her essay, in this way, functions as a first stepping stone into the possibilities for such an interdisciplinary dialogue. Nonetheless, I wish she had devoted more time to some aspects. The description of the H.I.J.O.S. movement as escraches is important, and she mentions it several times throughout the text, along with the carnivalesque quality of the protests. Although she describes the escrache as “acts of public shaming” she fails to make the connection between the word and its meaning of “fotografiar a una persona”. Since she devotes so much time to the discussion of the photo IDs, a mention of this connotation of the word could have added to her argument. Furthermore, the carnivalesque aspect of the protests should have been explored more. A focus on the siblings that were also disappeared would have been welcomed as she focuses mostly on the case of the missing parents. Her statement that “children idealize their missing mothers and fathers” (164), stroke me as unnecessary given her argument that the H.I.J.O.S., as the Madres, function as “the paradoxical living archive, the repertoire of the remains” (164). I also would have liked to hear more about the implications of operating from a place of joy and hope, with regards to H.I.J.O.S. Despite these critiques, I find Taylor’s piece to be compelling, and was personally moved by the way in which she interweaved the Memoria Gráfica Installation and her argument that “We are all

Open Document