A Tale of Two Nicaraguas

8 de marzo’s Ser como el aire quisiera and Lapta Yula’s La vida sigue Dramatizing Nicaragua’s Cultural Schizophrenia

Abstract

An examination of two Nicaraguan dramatic texts exemplifies the tension between first world white feminism and a feminism that rejects the hierarchies often replicated in the first waves of feminism. Women’s collective 8 de marzo’s Ser como el aire quisiera rejects the hegemonic femininity that often oppresses transgendered women and neglects to embrace the multiplicity of sexual expressions. Lapta Yula’s La vida sigue enfatizes solidarity, not just amongst women, but all those vying for a more equitable, just society whose mission is to promote the greater good of all. While both texts indirectly problematize the traditional concept of feminism, La vida sigue’s dramatic stance against hegemonic performativities is a step further from Ser como el aire quisiera’s primary dramatic thrust.