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Hemispheric Institute of Performance and Politics

Overview
Works: 311 works in 372 publications in 3 languages and 665 library holdings
Genres: Interviews  Periodicals  Filmed performances  Biography  Nonfiction films  Catalogs  Pictorial works  History  Criticism, interpretation, etc  Drama 
Roles: Producer, Funder
Publication Timeline
Key
Publications about Hemispheric Institute of Performance and Politics
Publications by Hemispheric Institute of Performance and Politics
Most widely held works by Hemispheric Institute of Performance and Politics
E-misférica ( file )
in English and held by 35 libraries worldwide
Hemispheric Institute digital video library ( visu )
in English and held by 10 libraries worldwide
Provides video documentation of performance art in the western hemisphere from the 1970s to the present
Performance by Diana Taylor( Book )
1 edition published in 2012 in Spanish and held by 8 libraries worldwide
"Performance" has multiple and often overlapping meanings that signify a wide variety of social behaviors. In this invitation to reflect on the power of performance, Diana Taylor explores many of its uses and iterations: artistic, economic, sexual, political, and technological performance; the performance of everyday life; and the gendered, sexed, and racialized performance of bodies. This book performs its argument. Images and texts interact to show how performance is at once a creative act, a means to comprehend power, a method of transmitting memory and identity, and a way of understanding the world
Teatralidades en el México virreinal by Martha Toriz Proenza( file )
1 edition published in 2004 in Spanish and held by 7 libraries worldwide
Susana Baca in concert ( visu )
3 editions published between 2003 and 2005 in Spanish and English and held by 5 libraries worldwide
Susan Baca is the foremost singer of Afro-Peruvian music. Her music, on Luaka Bop label, has promoted an awareness of the many cultural contributions of African-Peruvians. Also to this aim, she and her husband Ricardo Pereira are the founders and co-directors of the Instituto Negrocontinuo in Lima
Interview with Diamela Eltit ( visu )
2 editions published between 2007 and 2011 in Spanish and held by 5 libraries worldwide
Interview with Diamela Eltit, conducted by Diana Taylor, founding director of the Hemispheric Institute of Performance and Politics. This interview is a part of a series curated by the Hemispheric Institute, articulated around the question 'What is Performance Studies?' The series aims to provide a multifaceted approach to the often difficult task of defining the coordinates of both a field of academic study as well as a lens through which to assess and document cultural practice and embodied behavior. The contingent definitions documented in this series are based on the groundbreaking experiences and the scholarly endeavors of renowned figures in contemporary performance studies and practice
Interview with Drew Hayden Taylor ( visu )
3 editions published between 2005 and 2007 in English and held by 5 libraries worldwide
Drew Hayden Taylor (www.drewhaydentaylor.com) is an Ojibwa author, humorist and playwright from Curve Lake Reserve Ontario, Canada. In this interview, Taylor talks about his use of humor, the way he feels about using Native issues in his work, and they way his work is received in different communities. He also addresses writing from an Aboriginal perspective for a broader non-Native audience. By analyzing the use of Native humor in his pieces, he breaks down the universal language of his plays. Within the larger context of Aboriginal Theater, Drew looks at the development of his works as an offshoot of the work of people such as Thompson Highway and feels that he is able to go beyond the early works in this area that are primarily dark and depressing. Finally, Taylor rhapsodizes about the future of Native Theater and the translation of the classics such as Chekhov into Aboriginal settings
Interview with Jesse Cooday (Tinglit) ( visu )
3 editions published in 2005 in English and held by 4 libraries worldwide
In this interview, conducted by the Hemispheric Institute's Native curator Raquel Chapa, Native American artist Jesse Cooday (Tinglit) talks about his work in both the American Indian Community House (AICH) gallery -where he has assisted the gallery director- and its performing arts department, as well as his work during the late 80's, his activism in Alaska, and his work as a photographer. Cooday also reminisces about the many prominent Native artists that have come through the AICH. This interview complements the Hemispheric Institute Digital Video Library project's American Indian Community House collection. It is also featured on-line in the Hemispheric Institute's web cuaderno titled 'Native Performance in New York City at the American Indian Community House.'
Interview with Jesusa Rodríguez ( visu )
3 editions published between 2004 and 2010 in Spanish and held by 4 libraries worldwide
Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodríguez moves seemingly effortlessly and with vigor across the spectrum of cultural forms, styles, and tones. Her espectáculos (as both spectacles and shows) challenge traditional classification, crossing with ease generic boundaries: from elite to popular to mass, from Greek tragedy to cabaret, from pre-Columbian indigenous to opera, from revue, sketch and carpa, to performative acts within political projects. Humor, satire, linguistic play, and the body are constants in her productions. Rodriguezs energy is intense and her commitment non-negotiable, always interrogating the nature, site, and consequences of power and its representation. In this interview the artist comments on her particular use and transformation of the genre of pastorela (nativity play) in her cabaret performances, as a tool for contesting political and religious fundamentalism in the Americas. The pastorelas, used by the Catholic Church as an evangelization tool during the Conquest, are usually based on a clean-cut distinction between Good and Evil, sustaining a binary thought that has fueled political, cultural and religious agendas in the American hemisphere. Rodríguez proposal to use the pastorela genre against the ideologically conservative institutions that originally introduced and used it, subversively mixes humor with religion in order to contest the Manichean politics at play in contemporary Western society. Performances like Concilio de Amor and Pastorela Terrorista are commented by the artist as examples of this performative strategy, which Rodríguez links to a broader concern with civic empowerment and education, issues of civil disobedience and popular participation
Interview with Diana Raznovich ( visu )
1 edition published in 2009 in Spanish and held by 3 libraries worldwide
Ximena Castilla's keynote address : La ciudadanía desde el feminismo anarquista ( visu )
1 edition published in 2009 in Spanish and held by 3 libraries worldwide
Video documentation of Ximena Castilla's keynote address, 'La ciudadanía desde el feminismo anarquista, ' presented as a part of the 7th Encuentro of the Hemispheric Institute of Performance and Politics, held in August of 2009 in Bogotá, Colombia, under the title 'Staging Citizenship: Cultural Rights in the Americas.' This 10-day event brought together activism, scholarship, and art around the themes of legacies, memories, struggles, and frontiers of citizenship. With an introduction by Marcial Godoy-Anativia, Ximena Castilla's discussion addresses the theme of citizenship from the standpoint of anarcho-feminism, framing citizenship as an ancient, efficient, subversive, and ludic construction. Ximena Castilla is a Colombian criminal lawyer from the Universidad Externado de Colombia. She is a defender of women's rights and dedicates herself to human rights cases, especially those dealing with sexual and reproductive rights
Grupo Cultural Yuyachkani : Antígona ( visu )
1 edition published in 2000 in Spanish and held by 3 libraries worldwide
Video documentation of the theater piece Antígona, directed by Miguel Rubio Zapata and masterfully performed by Teresa Ralli of the Grupo Cultural Yuyachkani (Peru) in the context of the first Encuentro of the Hemispheric Institute of Performance and Politics, held at Rio de Janeiro, Brazil in 2000. This one-woman performance of José Watanabes version of Sophocles classic tragedy is a breathtakingly sad example of the devastation twenty years of civil violence in Peru caused; although it is the story of only one character, it speaks for the nearly 70,000 disappeared men, women and children of Peru. Perus most important theater collective, Grupo Cultural Yuyachkani has been working since 1971 at the forefront of theatrical experimentation, political performance, and collective creation. Yuyachkani is a Quechua word that means I am thinking, I am remembering; under this name, the theater group has devoted itself to the collective exploration of embodied social memory, particularly in relation to questions of ethnicity, violence, and memory in Peru. Their work has been among the most important in Latin Americas so called New Popular Theatre, with a strong commitment to grass-roots community issues, mobilization, and advocacy. Yuyachkani won Perus National Human Rights Award in 2000. Known for its creative embrace of both indigenous performance forms as well as cosmopolitan theatrical forms, Yuyachkani offers insight into Peruvian and Latin American theater, and to broader issues of postcolonial social aesthetics
Hula as resistance ( visu )
1 edition published in 2009 in English and held by 3 libraries worldwide
Hula as Resistance was presented as a part of the 7th Encuentro of the Hemispheric Institute of Performance and Politics, held in August of 2009 in Bogotá, Colombia, under the title 'Staging Citizenship: Cultural Rights in the Americas.' This 10-day event brought together activism, scholarship, and art around the themes of legacies, memories, struggles, and frontiers of citizenship. The chants and dances that were used in this performance praise and honor native Hawaiians' gods and chiefs. They celebrate their beloved lands, and call for unity and solidarity. Takamine is the founder and kumu hula (master teacher) of Pua Ali'i 'Ilima, a school of traditional Hawaiian dance. In addition, she teaches hula at UH Manoa and Leeward Community College. She graduated through the 'uniki rituals of hula from Maiki Aiu Lake. Vicky received her BA and MA in Dance Ethnology from the University of Hawai'i. Since 1997, she has coordinated demonstrations, rallies, and marches calling for social, economic, and environmental justice for native Hawaiians
Interview with Kennetch Charlette ( visu )
1 edition published in 2007 in English and held by 3 libraries worldwide
In December of 2007, as part of its Native Theater Festival, the Public Theater brought Native theater professionals from around the U.S. and Canada to New York City for a series of readings and discussions. The five-day festival included play readings, post-performance discussions, concerts, roundtables, and the performance of Darrell Dennis' 'Tales of and Urban Indian.' This video documents an interview with Kennetch Charlette, conducted by Drew Hayden Taylor as a part of a supplementary Native Theater Festival interview series
Interview with Steve Elm (Oneida) ( visu )
2 editions published in 2005 in English and held by 3 libraries worldwide
Trained at London's Rose Bruford College, Steve Elm (Oneida) has appeared as an actor in film, television and on the stage. Elm has worked as a playwright and director with London's Common Body Theatre, University of Manchester (England), the American Indian Community House (AICH) Youth Theatre Project, and was a founding member of Chuka Lokoli Native Theatre Ensemble in New York City. He has also worked as an actor with the Only Make Believe company in New York City and as an actor/teacher with CUNY's Creative Arts Team. In this interview, conducted by the Hemispheric Institutes Native curator Raquel Chapa, Elm focuses on his past work and his struggle to fight stereotyping in Native theater. This interview also complements the Hemispheric Institute Digital Video Library projects American Indian Community House (AICH) Collection. It is also featured on-line in the Hemispheric Institutes web cuaderno titled Native Performance in New York City at the American Indian Community House (http://www.hemisphericinstitute.org/cuaderno/aich/home.html)
Manifestations of the divine : the body ( visu )
2 editions published in 2003 in English and held by 3 libraries worldwide
Video documentation of the 'Manifestations of the Divine: The Body' mini-seminar, presented as a part of the 4th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in July of 2003 in New York City, United States under the title 'Spectacles of Religiosities'. Moderated by Gisela Cánepa Koch. Joseph Roach is the Charles C. and Dorathea S. Dilley Professor of Theater and English at Yale University. Roach has chaired the Department of Performing Arts at Washington University in St. Louis, the Interdisciplinary PhD in Theatre at Northwestern University, and the Department of Performance Studies at NYU. His books and articles include 'Cities of the Dead: Circum-Atlantic Performance' (Columbia, 1996), which won the James Russell Lowell Prize from MLA and the Calloway Prize from NYU, 'The Player's Passion: Studies in the Science of Acting' (Michigan, 1993), which won the Barnard Hewitt Award in Theatre History, and essays in Theatre Journal, Theatre Survey, The Drama Review, Theatre History Studies, Discourse, Theater, Text and Performance Quarterly, and others. Paper title: 'Ghost Notes: Jazz Divinity'. Elizabeth McAlister is Assistant Professor of Religion and Latin American Studies at Wesleyan University. Her research focuses on Afro-Haitian religious culture and transnational migration. She is the author of 'Rara! Vodou, Power and Performance in Haiti and its Diaspora'. She produced the audio CD called 'Rhythms of Rapture: Sacred Musics of Haitian Vodou' on Smithsonian Folkways. Paper title: 'Zonbi spirits and zombified bodies in Haitian Rara and Vodou arts'. Luis Millones is Professor Emeritus of Universidad Nacional San Cristóbal de Huamanga (Ayacucho, Peru) and Professor of the Literature Doctorate program of the Universidad Nacional Mayor de San Marcos. He has been Visiting Professor at the University of Texas, Austin, Stanford, Harvard and Princeton. He has published several works on Andean religions and ethnicity. He is the author of 'Dioses Familiares: Festivales Populares en el Perú Contemporáneo' ('Familiar Gods: Popular Festival in Contemporary Peru'); 'Perú: el Legado de la Historia' ('Peru: the Legacy of History') and 'Dioses y Demonios del Cuzco' ('Gods and Devils of Cuzco'). Paper Title: 'Hechizos de Amor: Magia y Poder en la Costa Norte del Perú'. C. Daniel Dawson has worked as a photographer, filmmaker, curator, arts administrator, consultant and scholar. He has served as Curator of Photography, Film and Video at the Studio Museum in Harlem (NYC), Director of Special Projects at the Caribbean Cultural Center (NYC) and Curatorial Consultant and Director of Education at the Museum for African Art (NYC). As a photographer, he has shown in over 25 exhibitions. Prof. Dawson has also been associated with many prize-winning films including 'Head and Heart' by James Mannas and 'Capoeiras of Brazil' by Warrington Hudlin. Paper title: 'The Universe in a Pot: Palo Mayombe in Cuba'
Interview with Terry Gomez ( visu )
1 edition published in 2007 in English and held by 3 libraries worldwide
Terry Gomez is from the Comanche Nation of Oklahoma. She is a published and produced playwright, published writer, theater director, actor and painter. Her play 'Inter-tribal' was produced as a staged reading at The Public Theater in New York City and published in the anthology 'Plays by Women of Color.' Other plays produced in various New Mexico venues include 'Inter-tribal, ' 'Reunion, ' 'The Antigone, ' 'A Day at the Night Hawk, ' 'Carbon Black, ' 'Rain Dance, ' 'Melanin, ' and 'The Woman with a Mustache.' Terry has been an adjunct professor of theater arts at the Institute of American Indian Arts in Santa Fe, New Mexico, and faculty for the I.A.I.A./ABC/Disney Summer Film Program. She has directed seven original plays and two showcases for the I.A.I.A. and 'Ghost Dance' by Annette Arkeketa. She has also taught workshops for the Santa Clara Pueblo Community School, Tesuque Pueblo Language Program, and the Crown Point Community School, as well as giving workshops at the International Workshop Festival in London, England. She is a recipient of the 2007-2008 American Indian College Fund/Andrew W. Mellon Fellowship. Recent acting stints include a month-long tour of New Mexico with the theater troupe Wise Fool in the play 'Baggage.' She is the mother of two and currently resides in Santa Fe. Edward Wemytewa is a former Zuni Tribal Councilman, and his connection to his Zuni cultural heritage is through art and language. He is the founding director of Idiwanan An Chawe, a storytelling theater. A playwright, performer, and visual artist, Edward's prize-winning paintings and sculptures have been exhibited in museums in Arizona and New Mexico
Interview with Tracy Davis : what is performance studies? ( visu )
1 edition published in 2007 in English and held by 3 libraries worldwide
Tracy C. Davis (Ph. D. University of Warwick) holds a joint appointment in the Departments of English, Theatre, and Performance Studies, and is Director of the Interdisciplinary Ph. D. in Theatre and Drama at Northwestern University. A feminist theater historian, her areas of interest include 19C British theater history, gender and theater, economics and business history of theater, performance theory, research methodology, museum studies, and Cold War studies. She is the author of Actresses as Working Women: Their Social Identity in Victorian Culture (1991), George Bernard Shaw and the Socialist Theatre (1994), The Economics of the British Stage, 1800-1914 (2000), Stages of Emergency: Cold War Nuclear Civil Defense (2007), The Performing Century: Nineteenth-Century Theatres History (2008), and The Cambridge Companion to Performance Studies (2008), and co-editor of Playwriting and Nineteenth-Century British Women (1999), Theories of Theatricality (2002), and Considering Calamity: Methods for Performance Research (2007). She is General Editor of the Theatre and Performance Theory series for Cambridge University Press
Coatlicue Theatre : Caracol, corazón de la tierra, flor de la esperanza ( visu )
1 edition published in 2005 in Spanish and held by 3 libraries worldwide
Elvira and Hortencia Colorado, Chichimec Otomi storytellers, playwrights, performers and community activists are founding members of the Coatlicue Theatre Company. Based in New York City, they are also members of danza Mexica Cetiliztli, New York Zapatistas and the American Indian Community House. 'Caracol, Corazón de la Tierra, Flor de la Esperanza' was created after the Colorado sisters lived and worked with communities in five autonomous municipalities in Chiapas, México. Their text is weaved from the voices of the Zapatista indigenous women they encountered. It is a collage of their thoughts, stories and music: the fire of their resistance, struggle and hope for a better future. This play was performed at the Francisco Nunes theater in Belo Horizonte, Brazil, as a part of the 5th Encuentro of the Hemispheric Institute of Performance and Politics, titled Performing Heritage: Contemporary Indigenous and Community-Based Practices (http://hemisphericinstitute.org/eng/seminar/brazil2005/index.html)
Leda Marins keynote address : Performances of spiral time ( visu )
1 edition published in 2003 in Portuguese and held by 3 libraries worldwide
Video documentation of Leda Martin's keynote address, 'Performances of Spiral Time', presented as a part of the 4th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in July of 2003 in New York, United States under the title 'Spectacles of Religiosities'. Africa prints her marks, traces and styles on the American territories, inscribing herself on the palimpsests that, by means of countless processes of cognition, assertion and metamorphosis, both conceptual and formal, transcreate and perform her presence and heritage. The arts and cultural creations colored by the African knowledge ostensibly reveal the ingenious and arduous means of survival of the African memory transplanted to the Americas by the diasporic Atlantic slave-trade and by other transcultural and transnational routes. Introduction by Zeca Ligiero. Leda Martins is Professor of Literature, Arts and Sciences at Universidade Federal de Minas Gerais. A major theorist of Afro-Brazilian religious performance, she has done extensive work on 'congados' and other forms of diasporic worship that participate in the transmission of Afro-Brazilian memory and identity. Her books include: 'O Moderno Teatro de Corpo Santo', Editorial UFMG, 1991; 'A Cena em Sombras', Editorial Perspectiva, 1995; 'Afrografias da Memória', Editorial Perspectiva, 1997; and 'Os Dias Anônimos', Editorial Sette Letras 1999
 
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WorldCat IdentitiesRelated Identities
Alternative Names
New York University. Hemispheric Institute of Performance and Politics
Tisch School of the Arts. Hemispheric Institute of Performance and Politics
Languages
English (19)
Spanish (13)
Portuguese (1)
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