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

亚马逊森林的一名土著女孩在抖音上走红，向在线观众展示了她的乡村习俗。黑人女权主义者占领了YouTube。巴西东北部的女性在Instagram上要求结束排外的刻板印象。在这种深刻变化的情况下，我的项目试图回答：拉丁美洲女性是如何构建的？巴西混血女性在网上的表现如何推动未来走向非殖民主义？作为回答这些主要问题的途径，我将研究巴西女性代表的发展、拉丁裔混血儿身份的概念及其与数字激进主义、巴西性、土著民间传说和好莱坞的交集。几个世纪以来，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，巴西人都是从外国的角度来确定的。殖民者的视角，以欧洲的视角，继续被教导给那些在成长过程中缺少真正的土著、黑人或混血历史参考的巴西孩子。外国电影和文学将拉丁和巴西化。当性别被带入等式时，它也带来了性化和虚幻的同质性。网络自我表现的进步已经证明了讲述我们自己故事的力量。关于非殖民艺术、教育和历史的辩论也邀请我们重新审视过去——另一个过去，隐藏在我们在学校、电影和博物馆所学到的一切背后的过去。是时候寻找新的方式来想象、表现和建立我们作为一个混合国家的身份了。为了实现这场革命，让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“混血”一词开始正式表示黑人。因此，所有非白人后裔都被重新归类为“pardos”，这是黑人的一个分支。似乎只是官僚主义，它再次从历史中抹去了混血儿，从官方数据中抹去了，甚至从政府的激励计划中抹去了。在这个国家，直到这个术语被修改之前，大多数人都是混血儿，把混血儿排除在巴西性之外，就是要消灭原来的土著人民，把“混血”理解为两个种族之间的中间道路：黑人和白人。这种二元对立在这个国家已经很古老了。在19世纪和20世纪，巴西经历了人口白化的国家政策，鼓励欧洲移民，目的是通过通婚来消灭黑人人口。它最伟大的捍卫者之一是jo<s:1> o Batista de Lacerda(1846-1915)，他是一名医生、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（Universal Congress of Races）上，他展示了西班牙艺术家莫德斯托·布罗科斯（Modesto Brocos）的画作《卡姆的救赎》（the Redemption of Cam）。这幅画描绘了一位黑人老年妇女、一位白人男子、一位混血妇女和一个白人婴儿。它被用来描绘巴西在美白倡议之后的未来。jo<e:1> o巴蒂斯塔将这一画面描述为：“黑人在第三代之后，由于种族跨越而变成了白人。”排除土著祖先并不仅仅是因为巴西种族讨论的二重性或缺乏种族分类。巴西历史上没有哪个民族像原住民那样被抹去，他们在媒体、政治、教育和劳动力市场上受到不公平的对待，或者根本不存在。西方文化、他们的故事、叙述和历史愿景的提升与土著文化的贬低成正比，土著文化几乎总是通过他们的过滤器来描绘。

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.