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( Youngs 2017 ), we are offering this topical special section to analyze protests through an ethnographic lens. Concentrating on power and performance, the articles consider the matrix within which the protests emerge—the time and space, the historic and

both in the police culture and in the favela. I thus situate the warrior ethos as a masculine performance shaped by gendered role expectations in the organizational, occupational, and street-working environment of the police. With this emphasis on the

and are motivated to change the power. Looking from the perspective of performativity, the figure of the protester, in general, is the effect of repetitive performances of dissent and of accompanying recognition of these performances as such. Yet

state to punish and correct disorder in society, Daniel Goldstein (2004: 25, 182 ) develops this notion further and demonstrates in his ethnography of lynching in urban Bolivia that spectacular violent performances can configure a mechanism of

pacification in an adapted way ( Menezes 2018 ). Therefore, they can be better understood as spectacular performances of power by the state ( Robb Larkins 2015 ). During operations, security personnel perform the state both to others and to themselves ( Savell

order that is imposed on local communities. Together, these contributions highlight the racial dynamics of the religiously infused gendered performances that have been elevated to the top of the national political system in recent years with Bolsonaro

engaging with the educational aspects of the museum site are apparent but seem to be matched and perhaps even surpassed by visitor's enthusiasm for entertainment opportunities, including theatrical performances and contemporary art shows. The vast majority

. The impressive amount of personnel as well as their performance, hostile attitudes, and rough treatment of residents gave the impression of a force prepared to attack. The encirclements they created to hinder opposition during demolitions contributed

commenced in earnest, live music and speeches rang out across the square. While music performances satirized the establishment, or else were concerned with highlighting the richness of the nation and its history, the weekly speeches took on a more somber

state, claims that he himself is the state. Chapter 5, “Prosthetic Revenge,” focuses on the spectacular political performances associated with ultranationalist politics. Açıksöz describes the emergence in the media of the disturbing figure of the