The performance of protest: Las Tesis and the new feminist radicality at the conjunction of digital spaces and the streets

ABSTRACT In this article, I conduct a multimodal analysis of videos of Las Tesis’ performance “Un Violador En Tu Camino,” posted on YouTube and Twitter, with the aim of obtaining deeper insights into how digital platforms encourage the creation of large-scale, transnational feminist mobilizations and how the encounter with narratives of multiple violences can enable new types of feminist radicality. Rather than locating the digital at the center point, a non-digital centric approach opens up for attending to the digital as part of something wider, and I analyze the interplay between the digital and non-digital in the building of a multifaceted feminist collectivity. I find that the variegated enactments “Un Violador” illuminate feminism as a transnational feminist collective through shared meanings and values, characterized by commonalities as well differences. These dimensions allow feminist performances to move across multiple scales and borders and become a radical, transversal social phenomenon on a macro scale.


Introduction
This article explores how digital infrastructures allow the creation of a large-scale transnational feminist collectivity and a new type of feminist radicality, through an analysis of the performance "Un Violador en tu camino," originally enacted on November 20 2019, by the Valparaíso feminist collective Las Tesis and shortly thereafter re-enacted by several feminist groups in various national contexts.Previous analyses have theorized Las Tesis' performance as a case of prefigurative art activism towards social and political transformation (Paula Serafini 2020) and examined how the disobedient character of the performance challenges the foundational narrative of women's disobedience in rape cultures across various spatial contexts (Deborah Martin and Deborah Shaw 2021).Researchers have examined the viral spread of the performance, replicated in more than dozen countries in a matter of days, and analyzed the topics brought up in the tweets posted (Sebastian Rodriguez et al. 2020).Following the trajectories of feminist scholars who argue for the importance to pay attention to the building of feminist collectives at the conjunction of digital spaces and the streets (Hester Baer 2016;Susan Bird 2014;Stewart Maya and Ulrike Schultze 2019;Zeynep Tufekci 2017;Pinar Tuzcu 2016;OhOnook, Chanyoung Eomand HR. Rao 2015;Rosalia Winocur 2021), in this article, I conduct a multimodal analysis of videos of the performance "Un Violador en tu camino," posted on YouTube and Twitter, to obtain deeper insights into how digital platforms support the emergence of massive, yet radical, feminist collectives (Verónica Gago 2020; Verónica Gago and Raquel Gutiérrez Aguilar 2020).
The enactments analyzed in this article are rooted in the genealogies of human rights movements and sexual dissidents in Latin America, and the extensive protests against femicide and for the right to abortion in these contexts (Silvia Elizalde and N. Mateo 2018;María Lugones 2010;Marlise Matos 2008;Keisha-Khan Y. Perry 2016;Adriana Piscitelli 2014;Silvia Rivera Cusicanqui 2012;Rita Segato and R. McGlazer 2018).Within these trajectories, I approach the viral spread of the performance of "Un Violador" as one instance in a broader, transnational network of collective actors that put the spotlight on violence against women and feminized bodies as a systemic form of power, at the crossroad where multiple violences, exploitation, dispossession, and extraction intersect (Gago 2020;Lucía Cavallero 2020;Brunella Casalini 2017).
Scholars suggest that digital platforms present a paradoxical and contradictory horizon for negotiations surrounding the body as a site of vulnerability as well as agency (Baer 2016;Tanja Carstensen 2014).While cyberfeminists have brought attention to the potentially utopian possibilities to move beyond gender binaries in digital spaces or to compose a feminist cyborg body, feminist online ethnographers find that an escalation of demands on hegemonic femininity and commodified self-representation continues to increase in social media platforms (Baer 2016).This article offers another aspect of the interplay between digital platforms and women's embodiment, approaching technological infrastructures as institutions that both empower and control individual and collective exchanges online (Ulrich Dolata and Jan-Felix Schrape 2016).

Las Tesis and "Un Violador En Tu Camino"
Las Tesis is a feminist performance collective of four artists from Valparaíso, Chile.Since April 2019, they worked on what was meant to be a short theatre performance in which they translated theories of sexual violence, rape, and femicide to practice, based on Silvia Federicci's (2004) Caliban and the Witch and Segato's (2003) Las estructuras elementales de la violencia, emphasizing that sexual violence against women is not only a social or moral problem but also a political issue.In October 2019, when regime critical uprisings swept the country, the collective felt the urge to contribute to the movement. 1Invited to a street performance festival in Valparaíso, they rearranged their performance of "Un Violador En Tu Camino" ["A rapist in your path"] for the occasion. 2After this enactment, Las Tesis was contacted by people from all over Chile who wanted them to perform the act.They went to Santiago and staged the performance for the International Day for the Elimination of Violence against Women on November 25 2019. 3After this, the video went viral and Las Tesis was approached by feminist groups from several countries, asking if they were allowed to use the song and adjust it after their context.Groups of women across the globe replicated the performance and the performance was reenacted in various countries across the globe, in several cities, by different groups of diverse women.Focusing on rape and sexual violence, the dance moves and the lyrics addresses the systematic nature of violence against women.
Resistance: transnational, transversal, embodied, affective I situate Las Tesis' performance of "Un Violador" and its multiple reenactments within an understanding of feminist resistance as at once transnational, massive, and radical.First, and influenced by the theorizations of a transnational politics of solidarity developed by Linda Carty and Chandra Talpade Mohanty (2015, 3), I approach these enactments as anchored in the "place-based lived realities of feminist praxis."which simultaneously carries insights and experiences of the overlapping and distinct "multiple violences" of contemporary neoliberal cultures in various places (Carty and Mohanty 2015, 4).Second, I am inspired by Gago's (2020) theorizations of the International feminist strike, in which she highlights a mode of political transversality that allows the building of bridges between different struggles, inviting the emergence of large-scale and radical struggles, emphasizing the strike not as an event but a political process (Gago and Gutiérrez Aguilar 2020).In Gago's (2020) theorizations, violence against women and feminized bodies is seen as inseparable from dispossession and exploitation, produced intersections between struggles and transnational connections.An analogy between the female body and the colonized territory allows me to conceptualize the defiance expressed in diverse enactments of "Un Violador" as a kind of epistemic disobedience, against the continued reinstation of systemic violence against women, and the refusal of actors in the state, the church and civil society to acknowledge the misogyny, and sexism against women and feminized bodies.
I also attend to the embodied dimensions of struggle.Inspired by the notion "poner el cuerpo," which refers to committing oneself body and soul to a cause, to assume the bodily risks, work, and demands of political resistance, 4 I follow Barbara Sutton's (2010) approach to the role of the body in the context of resistance.Sutton outlines a number of ways in which bodies are significant to political protest, several of which are relevant for the analyses in this article: I acknowledge the body both as a site of control and as a site of agency, and attend to the performance of the body as simultaneously vulnerable and powerful, used as a tool for the performance of political protest, and deployed as a "text" conveying political meaning.I also examine the role of emotions in the enactment of the performance, such as anger, rage, fear, and shame.I understand online technologies as "organizing agents" (Lance Bennett and Alexandra Segerberg 2012, 752).I follow Dolata's and Schrape (2016) three-dimensional characteristic of digital technologies: at first, digital technologies enable collectives to interact with each other, such as the connecting capabilities of the hashtag and the participatory technocultures of digital video platforms.Second, web infrastructures also coordinate and regulate access to digital spaces, for example, through personalized matches in search engines and unique recommendations in digital platforms, and digital technologies contribute to the structuring and stabilization of social collectives.Third, digital technologies generate new means of social control.These allow private persons, governments, and private companies to observe, surveil, evaluate, and judge profiles and postings online and retrospectively trace activities.These characteristics indicate that social processes and technological infrastructures are subject to an ambivalent interplay, both empowering and regulating, as well as controlling. 5

Digital multi-sited ethnography to examine ambient affiliations
To trace the enactments of the performance, circulating in and across diverse national sites, I used digital ethnography (Sarah Pink, Heather Horst, John Postill, Larissa Hjort, Tania Lewis and Jo Tacchi 2016).Doing ethnography in digital spaces has challenged existing conceptual and analytical categories and influenced the development of new and innovative methods to collect and analyze data.Recognizing the significance of networks and the mobility of meanings, identities, and objects, I developed a non-digital-centric approach to my ethnography (Pink et al. 2016).This meant that I recognized how enactments transcend specific place-bound sites, so also offline and online realms (Christine Hine 2016).In my analysis, this approach was reflected in my conceptualization of the digital as relational to other sites and topics, such as the street, or to certain historically and politically embedded landscapes, which meant that, even if my ethnography was conducted primarily online, the relationships traced through the ethnography were not understood as purely digital.Rather than locating the digital at the center point, this approach opened up for attending to the digital as part of something wider (Pink et al. 2016;Hine 2016).To explore how a large-scale, radical transnational feminist collectivity could unfold across digital platforms and through online-offline entanglements, I used a multi-sited approach (George E. Marcus 1995).The multi-sited approach to ethnography in digital spaces enabled me to trace the circulation of cultural meanings and identities across diverse political and historical sites and develop nuanced insights into the ways in which digital technologies were appropriated by performers, informed by their protests against injustices and their collective action for social change.Using an iterative-inductive approach to the ethnography (Pink et al. 2016), I followed traces of performance as it unfolded and spread across digital platforms and multiple national contexts.To capture connections in the material, I conducted a multimodal close reading of the data, examining the visual and technolinguistic grammar in multiple performances of "Un Violador," attending to the performances as engaging in a "multilingual dialogue" with "other texts, tools, objects, and ideologies" (Dusenberry, Hutter, and Robinson 2015, 208).My analysis recognized the various ways in which the original flashmob was reiterated and adapted to highlight specific tensions in each locally embedded context.A broad cartography of multiple violences with overlaps or connections as nodes across contexts emerged, and narratives linked violence against women and feminized bodies with police and state violence, dispossession, and extraction of value.I recognized the ways in which these dynamics illuminated how digital is a part of the material, affective, and social worlds that we inhabit today.
Postings on YouTube and Twitter were collected from November 2019 until March 2020, by the use of the search phrase "#Las Tesis."Screenshots were taken of performances as they were published.An advanced search on Twitter, using the phrase "#LasTesis" covering the interval from November 20 2019 to February 28 2020, was made on August 1 2021.Google Screen Capture was used to download the tweets as a pdf.
A number of enactments that displayed a broad variety of issues raised were also collected on YouTube, using the same search phrase "#LasTesis."When available, written translations of the lyrics to English were collected.In order to reach a depth in the analysis, a selection of postings was made from the broader material.Included in the analysis are performances from Puerto Rico (San Juan), Lebanon (Beirut), Pakistan (Karachi), Chile (Santiago), Brazil (Rio de Janeiro), India (Kolkata), Sweden (Stockholm), Turkey (Izmir), France (Paris), Germany (Berlin), and the USA (New York).The selection of these postings reflects my ambition to explore the differences and similarities in the different enactments and narratives of multiple violences.My personal Twitter account and regular browser were used for the collection of data.In my analysis of the data, I studied the visual and symbolic elements of value-and meaning-making in the enactment itself, through analysis of the choreography and the lyrics and by attending to the connections built across different performances.In this analysis, I examined both technocultural dimensions, i.e., how the affordances of digital technologies, such as the hashtag and other metadata, contributed to establishing such connections across sites and struggles, and the sociotechnical ways in which the enactment was mediated, circulating as a do-ityourself-flashmob in digital platforms, exploring how the mediation of the performance itself allowed for the enactment to spread and grow in popularity.
Staged as a flash mob, "Un Violador" blur the boundaries between online and offline, fantasy and reality.Contrary to what one might believe, the street, or the square, is as important for the performance of a flash mob as the digital technology.Since a flash mob can only mobilize people if they are in relative physical proximity to each other, Virág Molnár (2014, 19) highlights the "rootedness in particular geographic locales" as crucial for a flash mob to be effective.Thus, a flash mob must be played out in physical space and can be a way for people to reclaim these spaces (De Souzae 2006).In this way, attention to the interplay between online and offline worlds can illuminate how digital technologies also contribute to expanding rather than diminishing the significance of physical space (Bird 2014).
Twitter is a microblog that can be used by anyone for both private and public exchanges and is suitable for communicating with a large audience across geographical distances, using written texts and audio and video material.The hashtag function allows users to create and follow thematic links based on topics.The limit of up to 280 characters encourages users to save characters for developing their message and hashtags, and @handles are often used to generate meaning and provide metadata.Feminist scholars have shown the significant role of hashtags and other metadata in facilitating the creation of a community and collective belonging (Roel Coesemans, Barbara De Cock 2017;Tufekci 2017).Suggesting that the hashtag in Twitter works as a technolinguistic grammar, Onook, Chanyoung Eom, and Rao (2015) emphasize the agential capacity of technology in shaping sense-making processes, developed through "human-machine collaborative information processing [. ..] using hashtags to ensure that messages are not drowned in a massive and chaotic slew of tweets" (Onook, Chanyoung Eom, and Rao 2015, 221).Furthermore, recognized as an amateur video platform, YouTube displays user-generated content, often with a distinctively mundane and everyday nature.The platform allows for the sharing of events and commentaries from an insider perspective, to be circulated on a global scale without intervention from an editor (Jane Arthurs, Sophia Drakopoulou, Alessandro Gandini 2018).YouTube has popularized the emergence of participatory cultures in digital space.Here, the blurred distinction between producers and consumers refers to users as potential producers who, under the right conditions, can be triggered into action, allowing users to perceive their own everyday activities and interactions as filmable and shareable.To this end, users of digital media emerge as an assemblage of interconnected subjects, linked through YouTube videos.

The visual grammar of "Un Violador"
While various enactments of "Un Violador" were characterized by significant differences, some dimensions made it immediately recognizable among a diverse set of users in various contexts.Repeated across the main part of the postings, these dimensions constructed the visual grammar of the performance and functioned to inspire and instruct users on how to become producers of similar videos themselves.Below, I highlight how the visual grammar of the performance was manifested through the aesthetics, the sites of appearance, as well as the audiovisual quality, in video postings on YouTube and Twitter.
As shown in Figures 1 2 and 3, the blind-folds donned by many performers appear as one key building stone in constructing the visual grammar of the performance.Scholars  and journalists have loaded the blind-folds with different types of meaning.Some suggest that the blindfolds are a symbol, constructing women as one social group and putting the multiple differences between women aside (Miranda 2019), and commentators have described the blindfolds as a symbol of the "often invisible way institutions facilitate gender-based violence" (Rose 2020), picked up in the lyrics by the phrase "y nuestro castigo es la violencia que ya ves" ("our punishment is the violence you don't see").Others have read the blindfolds as a reference to the materialities of the violence of state regimes, linking them to local histories of violence and abuse, such as the victims of the eye injuries during the 2019-2020 protests in Chile and to the torture center during the Pinochet regime, where female political prisoners were blindfolded as they were subjected to sexual violence and other forms of torture (Martin and Shaw 2021).On a more general level, the wearing of blind-folds has been seen to offer performers collective safety, allowing for anonymity while expressing their experiences.Overall, the blindfolds emphasize collectivity and anonymity.In addition, beyond their multiple meanings, as an aesthetic element, the blindfolds work as one key marker of the visual grammar of the performance, giving them an instantly recognizable aesthetical expression across diverse re-enactments.
Further, staged as a flashmob, each video starts by a group of actors gathering on the street, who begin to move synchronously when an electronic beat starts to sound.While the enactments appear in places that reflect symbolically significant sites of power in the locale (a central square, in front of a courthouse, at a national stadium, et cetera), the visual grammar of the flash mob is first and foremost distinguished by the sudden appearance of the crowd in public space.Moreover, as a collective performance, "Un Violador" is enacted through chanting, squats, and shuffling from side-to-side.With an easy-to-follow choreography, electronic beat, and lyrics chanted in unison, the synchronous appearance and the sites emerges as a second marker of the visual grammar of the performance, as the choreography enables the crowd to move as one collective body in fear and anger.Third, the audiovisual quality of the performance provides a final marker of its visual grammar.Recorded with a smartphone on a tripod, sometimes blurry, often shot from straight ahead, the quality of the recording gives an expression that it has been made spontaneously by someone in the audience.In some reenactments, participants read from a sheet with lyrics and instructions on the choreography.These are examples of dimensions that give an impression of a do-it-yourself amateur video, documenting and sharing a grassroots perspective.The voices are intense, with clearly audible lyrics, and a low audio quality.The do-it-yourself feeling of the recordings works as a form of peer-topeer learning and encourages others to make recordings of their own as well.Taken together, manifested through the blindfolds, the spaces of the enactment, the synchronized choreography and chanting, and the do-it-yourself mode of the videos, the visual grammars of "Un Violador" invite performers to participate to build a common semiotic universe, in which particular meaning and values are shared among the community, enabling the building of a large-scale transnational feminist community.

Epistemic disobedience in contexts of misogyny and femicide
Across all re-enactments of "Un Violador," the systemic nature of violence against women and feminized bodies is visualized and challenged through a play with different mimetic levels.Moving between dual levels, an epistemic disobedience is exercised through mimetic disruption, as performers simultaneously restage the violence and express defiance against the refusal to recognize misogynist and sexist violence as a systemic issue.
The enactment of sexual violence is restaged through the squatting moves in the choreography, accompanied by the lyrics: "Es femicidio.Impunidad para mi asesino.Es la desaparición.Es la violación."["It's feminicide.Impunity for the murderer.It's the disappearance.The crime is rape.]"However, the restaging of violence and intimidation is disrupted as the lyrics turn to highlight the existence of a systemic form of power.Attention is directed to how violence is institutionalized in society, and the performance opens up a conceptual space for negotiation and disruption of meaning and shifting our focus from individualized victims of sexual violence to systemic forms of violence, as performers chant and point their fingers to demand responsibility: "¡Y la culpa no era mía, ni donde estaba ni como vestia!//¡El violador eres tú! [And it wasn't my fault, nor where I was, nor how I dressed//The rapist was you]." According to the members of Las Tesis, the squats is a citation, a choreographed reenactment, of the violence done by the policemen who say they are protecting women, but who are doing the opposite by intimidating women protestors, forcing them to undress and sit in a low, crouching position, fully naked, during police searches (Human Rights Watch 2020; Martin and Shaw 2021).The enactment rehearses the act that has brought shame to the body and invokes the occasion of shame, the intimidation, and the assault (Eve Kosofsky Sedgwick 1993).As the affect comes to structure abused women's identities through shame, bodies like these come to inhabit shame (Judith Butler 1993).A bad feeling sticks to those who have experienced or been in proximity to the violence, and they emerge as shameful bodies.While shame results in selfrepression as well as a social repression (Kosofsky Sedgwick 1993), the performance seeks to restore the dignity and integrity of the individual female body as well as the collective female body.By re-imitating the violence women are exposed to, the squatting move in the performance not only visualizes the existence of misogyny, sexism and sexualized violence but also expresses a resistance against such violence and blames the perpetrator who is exercising violence as well as the system supporting it.The conceptual space opened up between the choreography and the lyrics, as participants are chanting "the crime is rape," functions to visualize both the existence of police abuse and challenge the ideological meaning of such abuse.As a kind of epistemic disobedience, performers express a protest against the continued reinstation of systemic violence and against the refusal, among state authorities, to acknowledge the systemic character of this violence, which targets both individual women and women as a collective body.
Another instance of mimetic disruption appears in the title of the performance."Un Violador en tu camino."The title is a rewording of the Chilean police slogan of the 1990s "Un amigo en tu camino" ["A friend in your path"].The play on words both visualizes and challenges the systemic nature of sexual violence.Mimetic disruption is also expressed in the lyrics, which includes a reference to a verse from "Orden y Patria" ["Order and Homeland"], which is the hymn of the carabineros de Chile, created on April 27 1927, telling a young girl that the police is watching over her: Duerme tranquila, niña inocente//Sin preocuparte del bandolero//Que por tu sueño, dulce y sonriente//Vela tu amante carabinero [Sleep tight, innocent girl//With no fear of outlaws// For your carabinero lover//Watches over your sweet and happy dreams.].
As the performers extend their arms to point in front of them, behind them, in a circle around the head, the lyrics go "El violador eras tú//El violador eres tú//Son los pacos//los jueces//el Estato//el Presidente" ["And the rapist was you//And the rapist is you//it is the cops//it is the judges//it is the system//it is the president"].Through its lyrics and choreography, the enactment redirects the terms of address away from the victim, to the perpetrator, visualizes how the system upheld by state authorities and democratic institutions-the judges, politicians, the police, the president-that support this abuse by not recognizing violence against women as a political issue.
In all re-enactments of the performance, the body takes up variegated functions, as the body is used both a tactical tool, as a site of vulnerability as well as agency, and as a sign or text, conveying political meanings (Sutton 2010).As a tactic of political action, performers of "Un Violador" utilize bodily capabilities to convey their message by dancing and chanting, and drawing on space-taking dimensions of embodiment, as they perform the flash mob in seemingly coincidental, yet politically significant, locations.The protest exposed the vulnerability of the female body within authoritative regimes of power, at the same time as the collective body of the protestors emerged as powerful (Judith Butler 2015).Through the clothing, such as donning the blindfold, wearing party attire, or wearing all-black clothes, performers used the body as text to draw attention to the collective of female bodies, to demonstrate and challenge how the female body is inscribed by culture and underline a shift away from a focus on the individual victim's clothing or to accentuate the female body as a resource for political resistance.As the choreography of the dance illuminated the physical sensations appearing in response to the violence located at the core of the enactment, expressing emotions of shame, fear, anger, and rage, the performance also involved affective aspects of embodied forms of protest.Finally, as an embodied form of protest, the sheer number of protesters was significant.Ranging from huge gatherings, to smaller crowds, the total number of bodies enacting the performance in various places varied, but the multiple re-enactments created a patchwork of a massive crowd of protestors, linked across borders through their shared protest against multiple, overlapping, and distinct, forms of violence, in particular, contexts.
Speaking back to logics of patriarchal, colonial, fascist, and/or neoliberal forms of power across various local contexts and national boundaries, the mimetic negotiation in the performance highlights the emancipatory power of bodies in assembly, and the performers take advantage of the capacities of digital technologies to build large-scale transnational feminist community through shared meaning and values, with an unprecedented scale and speed (Butler 2015;Maya and Schultze 2019).In contrast to the establishment in traditional mass media of a unified point of view for a national community (Pauwels and Hellriegel 2009), in enactments of "Un Violador," each user is invited as a potential producer of the shared meaning and values in the performance (Arthurs, Drakopoulou, and Gandini 2018;Martini 2018).As users interacted with videos on YouTube and Twitter and saw themselves as producers of new performances, the impact of the performance relied on crucial dimensions of participatory action.

Building ambient affiliations through technolinguistic grammar
Hashtags and other metadata, such as references to places, events, or dates in postings on social media, according to Onook, Chanyoung Eom, and Rao (2015), is a kind of technolinguistic grammar that helps users to identify a shared theme and navigate within an otherwise chaotic population of tweets, which enables people to connect to a network as it unfolds.This was also the case for postings and the sharing of performances of "Un Violador." Figure 4 displays a selection of searches of "#LasTesis" on Twitter and YouTube.As these postings show, they are accompanied by several hashtags, in addition to "#UnVioladorEnTuCamino" and #LasTesis.Hashtags refer to certain dates, such as #25N and #8 M 7 , other initiatives, such as the International Women's Strike, places, such as #PlazaÑuñoa, where the enactments of "Un Violador" was made originally, or crucial agents, like #PrimeraLinea, "First line," referring to the people who were first in line in the protests of Chile, wearing helmets, shields, and goggles to protect the protesters behind them.This was later copied during uprisings in other Latin American countries such as Colombia.Creating a particular technolinguistic grammar, the use of hashtags and other metadata have an impact on transnational feminist action and community building.First, hashtags help users to identify clusters of focal themes and to navigate on social media platforms (Onook, Chanyoung Eom, and Rao 2015), because the function of hashtagged keywords to turn into clickable hyperlinks, which instantly retrieves all thematically relevant tweets, allows for a quick grasp of multifaceted interactions with a specific topic.Secondly, without necessarily having interacted directly with each other online, social connections among networked publics are built through the function of the hashtag (Coesemans and De Cock 2017;Tufekci 2017).Such "ambient affiliation" (Zappavigna 2012, 1) makes social media platforms suitable venues for community building and for the unfolding of transnational networks.Third, as a form of popular pedagogy, the hashtag relies on the amount of people who write hashtags in their tweets (Onook, Chanyoung Eom, and Rao 2015).The more the people who construct specific hashtags, the more the space is allotted to those hashtags in Twitter, and the exposure for them increases.The sheer popularity for hashtags with diverse references to #LasTesis or #Un VioladorEnTuCamino illustrates the interest among users to connect to the unfolding network of feminist activists joining the protests against sexual violence and femicide in multiple places across the globe.The encounter with each other's narratives of multiple violences in and across various place-based locales invited a new type of radicality among feminist activists and allowed these assemblages of connected subjects to extend beyond the digital space, as the performances referred to specific experiences in located contexts and to individual testimonies, which I now turn to discuss.

Shaping radicality: extending beyond digital space
As the enactment spread, performers were changing the lyrics according to their context.The lyrics did not change entirely and only in certain instances.The shared references to a mixed set of recurrent hashtags-the technolinguistic grammar-together with the visual grammar of performance videos strengthened the collective sense-making process and helped to build a large-scale collectivity across the globe.The enactments shaping the community displayed a multifaceted feminist movement, whose interaction also transgressed beyond the digital space of the platform.
In Puerto Rico, on November 29, a performance of "Un Violador" was enacted, addressing the Senate, US colonialism, and the governor as actors taking part in exercising the violence against women.The lyrics of the song was adapted accordingly: "¡Son los puercos, es el Senado, es la colonia, es Wanda Vázquez.El Estado opresor es un macho violador!"["It's the pigs, it's the Senate, it's the colony, it's Wanda Vázquez.The oppressive state is a male rapist!"] 8 (Verónica Dávila and Marisol LeBrón 2019).In a later version of the enactment, performed on December 20 2019, the lyrics addressed the collaboration between religious organizations and the government attempting to silence discussions on gender and sexual difference and to obstruct gender pedagogy: "La culpa es del silencio y una mala educación, la culpa es del gobierno, las iglesias y su infierno."["The silence and the bad education, the government, the churches and their hell, are to blame"]. 9With the adapted lyrics, the performances in Puerto Rico established translocal connections between their long-standing usage of the body in public space, and the Chilean women's embodied articulations of violence.In the performance, Caribbean rhythms such as bomba, plena and regaetón were integrated, acknowledging the interconnectedness of feminist struggles with racial and class struggles (Dávila and LeBrón 2019).In addition, while the original concluding lines in Chile addressed a critique of the Chilean carabineros, in Puerto Rico, these lines were changed to an encouraging message aimed at girls who see the performance: "Duerme tranquila, niña inocente, sin preocuparte del charlatán, que por tus sueños, dulce y sonriente, donde te encuentres las feministas vamos a luchar."["Sleep peacefully, innocent girl, without worrying about the charlatan, because wherever you are, for your sweet dreams, us feminists will fight."]. 10  In India, the performance was adapted to rally against a broader political issue, the National Register of Citizens and the Citizenship Amendment Act, which could risk to strip many minority communities in India of their citizenship, if approved (Desai 2020).These protests were spanning class, caste, religion, and gender.Enacting the performance during Prime Minister Modi's visit to Kolkata, women protestors explained that they wanted to highlight the patriarchal violence that his ideas represent, transforming "Un Violador" from a critique against femicide and sexual violence to critique a masculinist form of oppression among minority communities. 11Moreover, in Istanbul, the lyrics were adapted to describe gendered and sexual violence as located "at home, at work and in the street" and enactments of the performance pointed at a continuity of violence through various life spheres.Protesters in Turkey removed "the President" from among their addresses in the lyrics as this had led to arrests in previous protests. 12 In many contexts, the enactment itself and the reception of the enactment were linked to specific, locally situated, issues.Indeed, the reason for the great popularity of the performance in Chile, where it was initially staged, is connected to the memories of the dictatorship, where sexual violence was an instrument widely used by security forces.Paula Soto, member of the British-based Chilean solidarity group Assemblea Chilena En Londres, explains in an interview in the Guardian that When I saw it, I cried, and I spent the rest of the day crying.But I also laughed and was happy because it's such a strong, cathartic thing [. ..]It's difficult to explain, but I lost people during that time -one of my cousins was tortured and raped, and she took her own life years later.One of my uncles disappeared, and we know he was tortured.
(Gaby Hinsliff 2019) When performers occupied multiple public spaces for the enactment, new layers of meaning were given to the performance.There were performances organized in connection with other events such as Harvey Weinstein's trial in New York, Women's March in Washington DC, the pre-opening of the carnival in Rio, and Prime Minister Modi's visit in Kolkata.Performances were staged as part of greater protests against corruption and social inequality such as in the case of the uprisings in Chile.There were also enactments free-standing from other events, such as in Spain or Turkey for example.These variations reveal the diversity of the groups of women who organized these performances as well as of the contexts in which they performed.For example, on December 4 2019, in Chile, over 10 000 women performed the act on the National stadium in Santiago, a symbol of state abuse of power, because the stadium under dictatorship was a space for torture where they kept prisoners.In Lebanon, the enactment was part of broader protests against inequality and corruption.In Pakistan, the performance was enacted within the frames of the intersectional agenda of the Aurat March, demanding economic, ecologic, sexual, and social rights for women and trans people.When bodies assemble, Butler (2015) writes that the appearance of public space is reconfigured from a place of violence, lack of safety or fear, to mark public space a space of appearance, allowing for disruptive, collective, and emancipatory action.In the case of "Un Violador," the specific place and time of the enactments visualize the multifaceted nature of diverse feminist agendas, connecting misogyny and femicide to class, caste, corruption, processes of racialization and colonization, fascism, neoliberalism, migration, economic injustice, and the right to land and water.On Twitter, individual testimonials were published as a spin-off to the performance itself.These testimonials were introduced by one particular part of the song,"La culpa no era mia" ["It was not my fault"], and after that, women explained what they had been exposed to.For example,: "I was raped when I was 9 years old," referring to where the abuse took place ("in my bed") and what clothes they wore ("my pajamas"). 13The strategy of copying and pasting from the lyrics, and adding one's own testimonial, created a #MeToo moment, reminding women who experienced sexual violence that it was not their fault and that they are not alone, as the postings sought to take away the shame and to re-signify norms around the conceptualization of sexual violence.
The capacity of digital technologies to generate a message about multiple violences, on a wide scale and anchored in local contexts, helped to create a new type of radicality through the encounter with each other's narratives of multiple violences in and across various place-based locales.Bringing light to the ways in which violence against women intersects with broader forms of exploitation, dispossession, and extraction, the performance allowed for a flow between the micro-level of the personal experience of violence and the collective experience.Violence, in this multiple formation, emerged as a shared social phenomenon on a macro-scale.Beyond the viralness of the enactment, examples of its macro-scalar impact are the creation of a Chilean feminist party (Rojo, Gabriela, and Hasegan 2020) and the appointing of the Las Tesis collective on the list over the 100 most influential people over the year 2020 (Tolokonnikova 2020).The varieties of these performances in diverse local contexts show that "going viral" does not mean the spreading of uniform or univocal modes of organizing/protest across space and time, but that viralness can support the multifaceted nature of radical, transnational feminist protests, sharing local expressions of overlapping and distinct experiences of multiple violences, as narratives travel across social and geographical borders across the globe.

Conclusion
With the aim of obtaining deeper insights into how digital platforms encourage the creation of a large-scale transnational feminist collectivity and how the encounter with narratives of multiple violences can enable a new type of feminist radicality in these collectives, this article has explored how feminist resistance took shape in the diverse and dispersed enactments of the performance of "Un Violador" across the globe.I highlighted the transnational nature, the large-scale, and the radicality as three features that characterized these feminist enactments, as alliances across bodies and across space were built through the use of digital technologies.As technological infrastructures provided tools that enhanced connectivity among people, I explored the role of digital technologies in not only creating shared values and building feminist communities across distances, but also generating new means for the regulation and control of collective action.I showed how the visual grammar allowed performers to build a large-scale transnational feminist community within which particular meaning and values were shared among the community as it unfolded.Further, I highlighted how an insightful play opened up a conceptual space between different mimetic levels to negotiate and challenge established meanings and I found that performers were expressing an epistemic disobedience within contexts of misogyny and femicide.Moreover, I analyzed the technolinguistic grammar of the hashtag and showed how the capacity of the hashtag to instantly retrieve clusters of focal themes allowed for an immediate grasp of multifaceted engagements with a topic.I showed how this dynamic supported the unfolding of a multifaceted network of ambient affiliations across distances and argued that the popularity for the use of hashtags with reference to #LasTesis and #UnViolador not only illustrated an interest among users to connect to the unfolding network of shared values and meanings but also sparked a new type of feminist radicality, allowing feminist resistance to move across multiple scales and become a transversal social phenomenon on a macro-scale.

Notes
1.During the uprisings in Chile 2019, the Human Rights Watch reported on an excessive use of force by the Chilean carabineros and serious human rights violations, such as torture, rape, sexual abuse and assault, with over 11 000 people injured from October 18 to November 22 (Human Rights Watch 2020).Brutal beatings and rape in detention was documented and a human rights report from Chile 2019 notes that "police forced detainees, especially women and girls, to undress and squat fully naked, a practice banned by police protocols" (Human Rights Watch 2020).2. Las Tesis performance November 20, 2019, https://www.youtube.com/watch?v= 9sbcU0pmViM, accessed March 24, 2022.3. Las Tesis performance November 25, 2019, https://www.youtube.com/watch?v= yJGE9zqgna8&ab_channel=EsMiFiestaTV, accessed March 24, 2022.4. The expression "Poner el cuerpo" has become a part of the vocabulary of resistance in Argentina and implies the importance of our material bodies in the transformation of social relations and history (Sutton 2010). 5.This article focuses on the ways in which digital technologies display empowering characteristics.Yet, web infrastructures often operate in tandem with offline dynamics, as illuminated in the aftermath of events in the year following the viral spread of "Un Violador."See, for example: Line Defenders (2020); Gordon-Zolov (2020); PEN (2020).The risks of being charged or detained in relation to old or new laws increase with the existence of digital technologies.When analyzing these developments, scholars should recognize how attempts to control certain behavior takes shape through an interplay between online and offline observation, surveillance and punishment.6.I have blurred the user image and the @handle to anonymize the Tweets.7. #25N relates to November 25, the International Day for the Elimination of Violence Against Women and #8 M relates to March 8, the International Women's Day. 8. Link to performance: https://www.youtube.com/watch?v=0996UtVrbXI&ab_channel=Todas, accessed August 1, 2021.

Figure 4 .
Figure 4. in here: A selection of Tweets and YouTube videos of "Un Violador" enactments 6 .