Abstract
Diana Taylor considers the influential work of Jesusa Rodriguez and Liliana Felipe who, when they fell in love in Mexico City in 1979, brought together two distinct but related histories of violence in the Americas. While Felipe speaks of the Argentine dictadura (dictatorship) and Rodriguez refers to Mexico’s dictablanda (‘soft power’), Taylor shows that behind the very obvious difference in style, each of these forms of governance has served to usher in and bolster neoliberal economic policy. Since shutting down their cabaret space, El Habito (The Habit), in 2005, Rodriguez and Felipe have entered a different, some would say darker, period of their collaborative performance work. This chapter explores the impact of the shift to savage neoliberalism on their career-long performance activism.
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