skip to content

Hemispheric Institute of Performance and Politics

Overview
Works: 308 works in 368 publications in 3 languages and 662 library holdings
Genres: Periodicals  Interviews  Biography  Catalogs  Pictorial works  History  Criticism, interpretation, etc  Drama  Filmed speeches 
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
Susana Baca in concert ( visu )
3 editions published between 2003 and 2005 in Spanish and English and held by 5 libraries worldwide
Susana Baca is the foremost singer of Afro-Peruvian music. Her music, on the Luaka Bop label, has promoted an awareness of the many cultural contributions of Afro-Peruvians. Also to this aim, she and her husband Ricardo Pereira are the founders and co-directors of the Instituto Negrocontinuo in Lima. She dedicated this concert in Belo Horizonte to women, and--with her infinite grace, her wide smile, her sensuous movements and her bare feet on stage--she performed songs like 'Molino Molero, ' 'Caracunde, ' 'Corazón Americano' (in honor of Milton Nascimento), 'Panalivio, ' 'Toro Mata, ' and 'Se me van los pies.' This concert was performed at the Palácio das Artes in Belo Horizonte, Brazil, as a part of the 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).The concert was followed by a post-performance discussion with the audience
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 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 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 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)
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 Darrell Dennis ( 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 Darrell Dennis, conducted by Elizabeth Richards as a part of a supplementary Native Theater Festival interview series
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
Interview with Kennetch Charlette ( visu )
1 edition published in 2007 in English and held by 3 libraries worldwide
Kennetch Charlette (Cree) is from Sandy Bay Saskatchewan, Canada. He is of the Cree Nation. Kennetch has been working for many years as an actor and director. He is the Founding Artistic Director of the Saskatchewan Native Theatre Company (SNTC). Recent credits include the many shows at SNTC and also directing Drew Hayden Taylor's 'In World Created by a Drunken God' at the Persephone Theatre in Sakatchewan and Taylor's 'Buzz Gem Blues' at Trinity Rep in Providence, Rhode Island. Drew Hayden Taylor has done everything from performing stand up comedy at the Kennedy Center in Washington D.C. to lecturing on the films of Sherman Alexie at the British Museum in England. He is an award winning playwright (with over 70 productions of his work), documentary film maker, script writer, journalist and essayist. With 18 books to his credit, Drew also enjoys writing a humor column for five Canadian newspapers. Curve Lake Reserve (Ojibway) is where he was born and currently lives
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
Luisa Calcumil : es bueno mirarse en la propia sombra ( visu )
1 edition published in 2005 in Spanish and held by 3 libraries worldwide
Luisa Calcumil's 1987 solo show, 'Es bueno mirarse en la propia sombra' is a plea for the preservation of Mapuche indigenous culture in the face of the homogenizing forces of globalization. The play opens with Calcumil's voice in the dark, introducing herself in the Mapuche language as 'a person of the earth.' We then see her as a grandmother singing in Mapuche and being killed by white invaders who destroy indigenous land and build nuclear dumps. Next is the story of Julia and her mother: in dire financial straits, Julia's mother is forced to send Julia to work in the city as a maid. After many years, she goes back for her, only to find out she?s left her job and given birth to a boy. Calcumil then transforms into Julia, dancing to pop music, wearing flashy clothes. Julia constantly tells herself, 'You're so beautiful, Julia!' 'Why think?' 'Your skin is whiter!' She wants to forget she was raped, forget where she came from, forget she is Mapuche. But even as she calls herself Julie and gets a Western education, her dead grandmother appears in her dreams singing traditional songs, relentlessly reminding her that she can't deny her roots. This video documents Calcumil's performance at the Teatro da Cidade 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)
Interview with Marie Clements ( visu )
1 edition published in 2008 in English and held by 3 libraries worldwide
Marie Clements (Metis/Dene) is an award-winning performer, playwright, director, screenwriter, producer, and founding artistic director of urban ink productions and Fathom Labs Highway. Her twelve plays, including 'Copper Thunderbird, ' 'Burning Vision, ' and 'The Unnatural and Accidental Women, ' have been presented on some of the most prestigious stages for Canadian and international work including the Festival de Theatre des Ameriques (Urban Tattoo 2001, Burning Vision 2003) in Montreal, the National Arts Centre and The Magnetic North Festival (Burning Vision 2003, Copper Thunderbird 2007) in Ottawa. Her work has garnered numerous awards and publications including the 2004 Canada-Japan Literary Award and a shortlisted nomination for the 2003 Governor General's Literary Award. Tom Pearson (Creek/Eastern Band Cherokee) is a writer and artist working in a variety of media that includes contemporary dance, site-specific performance, film, visual art, and large-scale installations. Pearson received his MA in Performance Studies from New York University/Tisch School of the Arts and is currently the Co-Artistic Director of Third Rail Projects, a collective of artists based in New York City. He is the recipient of a 2008 New York Dance and Performance (Bessie) Award for choreography and a Kingsbury Award for writing. Pearson's articles on Native dance and performance have been published in Time Out New York Kids, Dance Magazine, Dance Spirit, and several online publications. In addition to his work in the contemporary arts, Tom also participates in traditional American Indian events as a dancer and singer
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
Interview with Diana Raznovich ( visu )
1 edition published in 2009 in Spanish and held by 3 libraries worldwide
 
moreShow More Titles
fewerShow Fewer Titles
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 (16)
Spanish (14)
Portuguese (1)
Close Window

Please sign in to WorldCat 

Don't have an account? You can easily create a free account.