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Hemispheric Institute of Performance and Politics

Overview
Works: 310 works in 371 publications in 2 languages and 664 library holdings
Genres: Periodicals  Interviews  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 36 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
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 Carmen Oquendo-Villar as a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentina under the title 'CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender' (http://hemi.nyu.edu/eng/seminar/2007/index.html). Diamela Eltit is a Chilean writer. She studied literature at the Universidad Católica de Chile and at the Universidad de Chile. She is founding member of the interdisciplinary group CADA
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
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 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. Rodriguez's 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
Arquetipas : a prehispanic cabaret ( visu )
2 editions published in 2004 in English and held by 3 libraries worldwide
In this bilingual 'pre-Hispanic' cabaret performance, Jesusa Rodríguez and Liliana Felipe perform some of their staple characters and songs, in a satiric commentary on how US foreign policy, neoliberalism, and the North American Free Trade Agreement (NAFTA) are affecting Latin America. 'Freaka Kahlo, ' 'la Serpiente Enchilada' and the 'Coatlicue' are some of the queer 'arquetypical' characters performed by Rodríguez; through ingenious neologisms and humorous wordplay, they pose a critique to consumer society, repressive US policies against illegal migrants, the imposition of transgenic corn in Mexico (which is currently endangering the ecodiversity of native corn), and the opening of an American megastore (the controversial Walmart) nearby the pre-Columbian pyramids of Teotihuacán. Renown songs by Felipe - 'Tienes que decidir, ' 'Mala, ' 'El maíz, ' among others - provide a powerful antiphonal commentary on these issues, bringing together the social and the personal in a engaging take on queer politics. The artists close the performance with their famous song 'Popocateptl, ' a parodic version of Mexican composer José Pablo Moncayo's most well-known work, 'Huapango.' Mexican director, actress, playwright, performance artist, scenographer, entrepreneur, and social activist Jesusa Rodríguez has been called the most important woman of Mexico. Often referred to as a 'chameleon, ' 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. She seeks to render corporal and, thus, visible, the tensions between the discourses in operation on and through the individual and collective body. Rodriguez's energy is intense and her commitment non-negotiable, always interrogating the nature, site, and consequences of power and its representation. Liliana Felipe, one of Latin America's foremost singers and composers, was born in Argentina in the 1950s. She left for Mexico just before the outbreak of the 'Dirty War' (1976), but her sister and brother-in-law were both 'disappeared'--victims of the military dictatorship's criminal politics. Liliana's music has a wide following in Latin America. She continues to be a powerful presence in Argentina, working with human rights organizations - especially H.I.J.O.S. (the organization of the children of the disappeared). In Mexico, Liliana went to one of Jesusa Rodríguez's performances. Jesusa, catching a glimpse of Felipe in the audience, remembers saying to herself: 'I am going to die with that woman.' Since then, Liliana and Jesusa have created two performance spaces, El Cuervo and later El Hábito in Coyoacán, Mexico City. They 'married' in February 2000
Interview with Marie Clements ( visu )
1 edition published in 2008 in English and held by 3 libraries worldwide
In November 2008, The Public Theater in New York City was proud to present a festival of extraordinary theater from today's Native artists. In its second year, the festival featured: three free readings of new works by Native playwrights Victoria Nalani Kneubuhl, Laura Shamas, and Eric Gansworth followed by post-show discussions; a discussion with Artistic Director Oskar Eustis and a panel of Native artists on Politics and Performance that was open to the general public; a series of seven Field Discussions designed to convene artists and create an open forum to address and discuss issues facing Native Theater today; and a concert in Joe's Pub by Native and African-American singer Martha Redbone. This video, Interview with Marie Clements, supplements the 2008 festival records, as a part of an interview series conducted by Tom Pearson
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
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)
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'
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
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)
Interview with Diana Raznovich ( visu )
1 edition published in 2009 in Spanish and held by 3 libraries worldwide
Interview with Javier Serna ( visu )
1 edition published in 2011 in Spanish and held by 3 libraries worldwide
Javier Serna is Research Professor of Theater Studies and Cultural Practices in the Theater Department at the Autonomous University of Nuevo Leon. His publications include The Theater At The End of Modernity In Encyclopedia of Monterrey (Grijalbo), section editor of the 'Republic of Theater' in Cat Step Theater Journal (Conaculta). He is a graduate of the London Drama Center, and teaches philosophical anthropology for the graduate school at UANL. He holds a doctorate in Performance Studies from New York University
2boys.tv : Zona pellucida ( visu )
1 edition published in 2007 in English and held by 3 libraries worldwide
Within the folds of the zona pellucida, rapt in a somnambulous state, the accused begins to believe she is capable of the crimes with which she has been charged, and that perhaps, somehow, she has indeed carried out the horrific transgressions herself. Zona Pellucida, multimedia theater piece by 2boys.tv, was performed as a part of the 6th Encuentro of the Hemispheric Institute of Performance and Politics, celebrated in June of 2007 in Buenos Aires, Argentina under the title CORPOLÍTICAS en las Américas: Formaciones de Raza, Clase y Género / Body Politics in the Americas: Formations of Race, Class and Gender. 2boys.tv (Aaron Pollard and Stephen Lawson) is a theater and cabaret duo based in Montréal, Canada. Their multimedia performance pieces often incorporate video projections, soundscapes, found and original music scores, transgendered apparitions, outrageous costume, props, vocal/textual works, and the art of lip-sync. The video includes a post-performance discussion with the artists, moderated by Ramón Rivera-Servera
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
 
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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 (20)
Spanish (14)
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