Carmelita Tropicana can be a beast. In the past, she has been a horse, pig and even a bear. In short, we can describe Alina Troyano’s performance persona, Carmelita Tropicana, as a queer assemblage. Assemblages are not simply characters or personas; instead, they are something else, something multiple. An assemblage consists of lines of articulation, strata and territory, but also lines of flight and movements of deterritorialization and destratification. These lines represent different intensities and different speeds and textures. We can think of the assemblage known as Carmelita Tropicana as a body without organs, which is a body that is constantly dismantling the organism, causing asignifying particles or intensities to circulate differently. This queer assemblage is always becoming.
José Esteban Muñoz 2013
Performing the Bestiary: Carmelita Tropicana’s “With What Ass Does the Cockroach Sit? / Con Que Culo se Sienta la Cucaracha?”