The construction of Latin American femininities and how online self-representation is pushing us toward a decolonial future

亚马逊森林中的一个土著女孩在Tiktok上传播开来，向在线观众展示她的村庄习俗。黑人女权主义者占领YouTube。巴西东北部的女性在Instagram上要求结束仇外的刻板印象。在这种深刻变化的情况下，我的项目试图回答：拉丁美洲的女性是如何构建的？由巴西混血女性组成的网络代表如何推动非殖民化的未来？作为回答这些主要问题的途径，我将调查巴西妇女的代表发展，混合种族拉丁身份的想法及其与数字行动主义，巴西性，土著民间传说和好莱坞的交叉点。几个世纪以来，巴西性一直是从外国的角度来确定的，无论是通过比较，判断还是刻板印象，通过各种媒体：艺术，文学，电视和电影。巴西儿童在成长过程中一直缺少真正的土著人、黑人或混血儿的历史参考资料，他们继续从欧洲的透镜学习殖民者的视角。外国电影和文学使拉丁和巴西具有异国情调。当性别被纳入等式时，它也带来了性别化和一种虚幻的拉丁裔女性同质性。在线自我表现的进步已经证明了讲述我们自己故事的力量。关于非殖民地艺术、教育和历史的辩论也邀请我们重温过去--另一个过去，隐藏在我们在学校、电影和博物馆学到的一切背后的过去。现在是时候找到新的方式来想象，代表和建立我们作为混合国家的身份。为了实现这场革命，允许一个更具包容性的女权主义崛起，放弃我们继承的欧洲中心主义，有必要倾听和分析在社交媒体上倡导自己观点的女性声音。今天，巴西被认为是一个以黑人为主的国家，因为“种族灭绝”一词开始正式意味着黑人。因此，所有非白人后裔都被归类为“pardos”，这是黑人的一个分支。这似乎只是官僚主义，它再次将混血人从历史、官方数据甚至政府激励计划中抹去。在一个在术语被修改之前混血占多数的国家，将混血从巴西人中排除出去就是消灭原始的土著人，并将“混血”理解为只有两个种族之间的中间道路：黑人和白人。这种二元性在这个国家是古老的。在19世纪和20世纪，巴西实行了人口白化的国家政策，鼓励欧洲移民，目的是通过种族通婚消灭黑人人口。最伟大的捍卫者之一是若昂·巴蒂斯塔·德·拉塞尔达（João Batista de Lacerda，1846-1915），他是一位医生、人类学家和国家博物馆馆长。1911年在伦敦举行的世界种族大会上，他展示了西班牙艺术家莫德斯托·布罗科斯的画作《卡姆的救赎》，这幅画描绘了一位黑人老年妇女、一位白色男子、一位混血妇女和一个白人婴儿。它被用来作为一个再现巴西的未来后，白化倡议。若昂·巴蒂斯塔将这幅图像描述为：“黑人在第三代之后变成了白色，这是种族交叉的结果。“排除土著血统并不仅仅是因为巴西关于种族的讨论具有双重性或缺乏种族类别。巴西历史上没有哪个种族群体像土著民族那样被抹去，他们在媒体、政治、教育和劳动力市场上要么不公平，要么根本不存在。对西方文化、西方故事、西方叙事和西方历史观的推崇，与对几乎总是通过他们的过滤器来描绘的本土文化的贬低成正比。

An indigenous girl in the Amazon Forest goes viral on Tiktok presenting her village customsto an online audience. Black feminists occupy YouTube. Northeastern Brazilian womendemand the end of xenophobic stereotyping on Instagram. In this scenario of profoundchanges, my project seeks to answer: how are Latin American femininities constructed? Howis online representation by mixed-race Brazilian women pushing towards a decolonial future?As pathways to answer those main questions, I will investigate Brazilian women'srepresentations development, the idea of mixed-race latina identity and its intersections withdigital activism, Brazilianness, Indigeneous folklore and Hollywood.For centuries, Brazilianness has been determined from a foreign perspective, whether bycomparison, judgement or stereotyping, through various media: art, literature, television andfilm. A colonizers' perspective, following an European lens, continues to be taught toBrazilian children who grow up missing genuinely Indigenous, Black or mixed-race historicalreferences. Foreign cinema and literature exoticized Latinity and Brazilianness. When genderis brought into the equation, it also brings sexualization and an illusory homogeneity ofLatino women.Advances in online self-representation have demonstrated the power of telling our ownstories. Debates about decolonial art, education and history also invite us to revisit the past -that other past, the one hidden behind everything we learned about in school, movies andmuseums. Time has come to find new ways to imagine, represent and build our identity as amixed nation. To achieve this revolution, allowing a more inclusive feminism to rise,abandoning the Eurocentrism we inherited, it is necessary to listen and analyze the femalevoices that are advocating for their points of view on social media.Today, Brazil is understood as a predominantly Black country, since the term formiscegenation began to formally mean Blackness. Thus, all non-white descendants arecategorized as "pardos", a division of Blackness. Seeming to be just bureaucracy, it erasesmixed-race people from history again, from official data and even from government incentiveprograms. In a country that had a mixed-race majority until the terminology was modified,excluding miscegenation from Brazilianness is to annihilate the original Indigenous peoplesand understand "mestiçagem" as the middle way between only two ethnicities: Black andwhite.Such duality is old in the country. In the 19th and 20th centuries, Brazil underwent a nationalpolicy of population whitening, encouraging European immigration with the goal ofextinguishing the Black population through miscegenation. One of its greatest defenders wasJoão Batista de Lacerda (1846-1915), a physician, anthropologist, and director of theNational Museum. At the Universal Congress of Races, held in London in 1911, he presentedthe painting "The Redemption of Cam," by the Spanish artist Modesto Brocos.The painting portrays a Black elderly woman, a white man, a mixed-race woman and a whitebaby. It was used as a rendition of Brazil's future after the whitening initiatives. João Batistadescribed the image as: "black people becoming white, after the third generation, as a resultof race crossing."The exclusion of Indigenous ancestry does not happen only due to the duality in discussionsabout race in Brazil or its lacking race categories. No ethnic group has been as erased fromBrazilian history as the native peoples, who are unfairly represented or non-existent in themedia, politics, education, and the labour market. The exaltation of Western culture, theirstories, narratives and historical visions is proportional to the devaluation of Indigenousculture, portrayed almost invariably through their filter.