Pronouns: She/her/hers and They/them/theirs
Kristie Soares is an Assistant Professor of Women & Gender Studies and a performance artist. Both her performance work and her research explore queerness in Caribbean and Latinx communities. She earned a PhD in Comparative Literature from the University of California, Santa Barbara, an MA in Comparative Literature from the University of Colorado, Boulder, and a BA in English and Women’s Studies from the University of Florida.
Professor Soares’ work focuses on 19th-21st century Latinx media and literature, with a specialization in queer Caribbean cultural production. Her current book manuscript – Joyful Protest: The Political Work of Joy in Latinx Media defines joy as a politicized form of pleasure, one that not only produces gratification but also unsettles social norms of gender, sexuality, race, and class. The book examines Puerto Rican and Cuban diasporic media from 1960-present. It contends that when cultural producers insert joy into media texts—ranging from music, to public activist demonstrations, to sitcoms—they resist the dominant stories told about Latinx joy over centuries of colonialism and imperialism.
Professor Soares is also currently working on an oral history project that explores the role of Latinx disc jockeys in the development of disco and dance music in 1970s New York. Her work has been published in Signs, Feminist Studies, Meridians, Frontiers, Letras Femeninas, Revista de Estudios Hispánicos, Remezcla, LatinxSpaces, Latino Rebels, and The Los Angeles Review of Books.
Professor Soares’ teaching draws heavily on queer and performance methodologies. She encourages students to “try out” intellectual concepts using their bodies, through decolonial pedagogies such as Theatre of the Oppressed. She also facilitates performance poetry workshops in schools and juvenile detention facilities. Her own performance work is invested in making political statements in and through the body. Her most recent performance project is a play she co-wrote with her writing partner, Katrina Ruiz, entitled Arroz con Mango. The play offers a humorous but poignant depiction of growing up queer and Cuban in Miami.
"Joy, Rage, and Activism: The Gendered Politics of Affect in the Young Lords Party.” Signs: Journal of Women in Culture and Society, 46.4. (2021)
“Reflections on Anti-Racist Feminist Pedagogy & Organizing: This Bridge, 40 Years Later.” Forthcoming in a special issue of Feminist Studies. (2021)
“Dominican Futurism: The Speculative Use of Negative Aesthetics in the Work of Rita Indiana.” Meridians: Feminism, Race, Transnationalism 19.2. (2020)
“Latin Lovers, Chismosas, and Gendered Discourses of Power”: The Role of the Subjective Narrator in Jane the Virgin.” Decolonizing Latinx Masculinity. Eds. Arturo Aldama and Frederick Aldama. Tuscon: U of Arizona P. (2019)
"Incomodando: On the Role of Bothering in Rita Indiana’s Speculative Work.” ASAP/J special cluster on Latinx Speculative Fiction. (2019)
“The Cuban Missile Crisis of White Masculinity: Tito Bonito and the Burlesque Butt.”The Routledge Companion to Gender, Sex and Pop Culture in Latin America. Routledge (2017)
“Garzona Nationalism: The Confluence of Gender, Sexuality and Citizenship in the Cuban Republic.” Frontiers: A Journal of Women’s Studies 35.3 (2014)
“The Political Implications of Playing Hopefully: A Negotiation of the Present and the Utopic in Queer Theory.” The Un/Making of Latina/o Citizenship: Culture, Politics and Aesthetics. Ed. Ellie D. Hernández and Eliza Rodriguez y Gibson. New York: Palgrave Macmillan (2014)
“’Who Do I Have to Forgive to Move On From This Place?’: Meditations from a Third World Feminist Lesbian.” Queer Girls in the Class: Lesbian Teachers and Students Tell Their Classroom Stories. Ed. Lori Horvitz. New York: Peter Lang (2011)
“Traveling Queer Subjects: Homosexuality in the Cuban Diaspora.” Revista de Estudios Hispánicos 45.3 (2011)
"From Canary Birds to Suffrage: Lavinia’s Feminist Role in Who Would Have Thought It?” Letras Femeninas 35.2: 211-229 (2009)