The performance "A rapist on your way" appeared in Chile at the end of 2019, and then it was reproduced in nearly three hundred cities on all continents. In this article, performance is contextualized considering feminism and feminist art, significant movements due to their capacity for action. His narrative is then examined in the light of the thinking of Segato and other authors, who have shown how sexual violence is associated with a patriarchal power structure. Finally, this manifestation is analyzed considering its performative character, whose expression makes the body a territory of resistance and resignification, taking up the ideas of Turner and Butler on performance as a “social drama” liminoid and antistructure.

Throughout history it has been shown that in a large number of conflicts there is a constant: violence directed against women, using them as spoils of war to denigrate and hurt the contestants, be they peoples, groups or individuals. This is no different in contemporary conflicts faced by women of indigenous peoples, especially in those cases related to the struggle to build, defend and strengthen the autonomous models of their peoples and communities, as well as those related to the opposition of the peoples. against extractive megaprojects that threaten to deprive them of their territories. In this scenario, indigenous women are being objects of additional violence, not only considering them as spoils of war, but there is violence directed directly against them for their political activism, whether as autonomists, organization leaders, suffragettes, feminists or anti-women. extractivists. In this context, in this article we will provide an overview of the different intersections of gender, class, ethnicity that, in an extractive neoliberal context, violate men and women of indigenous peoples who put power, (in) justice and the economic model into question. current, focusing on the continuities and new expressions of violence against indigenous women.