Founder of the collectives Casa Drag Latina and House of Gad, Gad Yola is an Afro-Peruvian multidisciplinary artivist based in the city of Madrid. As part of a trans-Atlantic Latinx queer media history, Gad Yola’s career allows us to inquire about what can be described as transvestite, antiracist, and transfeminist drag “positioning” against injustices happening on both sides of the Atlantic. Be this their rejection of state violence in Peru, their support for the massive regularization of migrants in Spain, their critique of the racist gaze, or their celebration of brown bodies, Gad Yola’s interventions significantly contribute to the cultural articulation of antiracism in Spain. The following interview will consider the digital and feminist interrelation by focusing on Gad Yola’s identification with antiracism, transfeminism, and their references, as well as on the use of social networks as identity and community resources.
“I Am a Meme”: Interview with Gad Yola, Drag Artist
Miguel Ángel Blanco Martínez is a PhD candidate in Latin American and Iberian Cultures (LAIC) at Columbia University. He holds a bachelor’s degree in Translation-Interpreting and Humanities (Universidad Pablo de Olavide) and a GEMMA Erasmus Mundus master’s degree in Women’s and Gender studies (Universidad de Oviedo and Utrecht University). His research interests focus on feminist, queer, and memory arts and activisms in contemporary Spain.
Gad Yola is an Afro-Peruvian multidisciplinary artist based in the city of Madrid. They are the author of the singles “No exotice” (2022), “Aguanta Migranta” (2022), “Problemática” (2023), “Travesti del Perú” (2023), and “Madre” (2024), and of the album Travesti del Perú (2024). They have also participated in several contemporary art exhibitions, workshops, and shows as an independent artist, or as founder and member of the collectives Casa Drag Latina and House of Gad.
Miguel Ángel Blanco Martínez, Gad Yola; “I Am a Meme”: Interview with Gad Yola, Drag Artist. Feminist Media Histories 1 October 2024; 10 (4): 167–179. doi: https://doi.org/10.1525/fmh.2024.10.4.167
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