Abstract
This article demonstrates that José Pérez Ocaña's political performances open up the possibility of questioning the narrative of the transition to democracy in Spain as one resulting from political consensus. Using sources available in documentaries and in the archives of the counterculture, the essay studies Ocaña as a political subject of the transition. Among his public acts, the essay considers his street performances, his sexually explicit performance in the Canet Rock music festival and in International Anarchist Days in 1977, and his problematic participation in gay pride parades in Barcelona. In his public appearances, Ocaña eroded the distinction between public and private while asserting his right to appear. Despite his prominence in countercultural realms, gay activists and anarchist organizations rejected him. I argue that Ocaña opted to disidentify with all labels as he confronted both gender norms and the countercultural public sphere.
Published Version
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