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Hemispheric Institute of Performance and Politics

Overview
Works: 311 works in 388 publications in 2 languages and 498 library holdings
Genres: Interviews  Documentary films  Periodicals  Biography  Catalogs  History  Criticism, interpretation, etc  Pictorial works  Filmed speeches 
Roles: Producer, Funder
Classifications: NX456.5.P38, 700
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 34 libraries worldwide
Hemispheric Institute digital video library ( visu )
in English and held by 9 libraries worldwide
Provides video documentation of performance art in the western hemisphere from the 1970s to the present
Teatralidades en el México virreinal by Martha Toriz( file )
1 edition published in 2004 in Spanish and held by 7 libraries worldwide
Performance by Diana Taylor( Book )
1 edition published in 2012 in Spanish and held by 6 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
Susana Baca in concert ( visu )
3 editions published between 2003 and 2005 in Spanish and English and held by 4 libraries worldwide
Video documentation of Susana Baca's concert, 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'. Susana Baca is the foremost singer of Afro-Peruvian music. Her music, distributed by Luaka Bop record label, has promoted an awareness of the many cultural contributions of African-Peruvians. Also, to this aim, in 1992 Susana and her husband Ricardo Pereira founded the Instituto NegroContinuo in Lima to teach and preserve the dance and music of her ancestors. Susana Baca won a Grammy Award in 2002
Interview with Diamela Eltit ( visu )
2 editions published between 2007 and 2011 in Spanish and held by 4 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 4 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 Drew Hayden Taylor, conducted by Kennetch Charlette as a part of a supplementary Native Theater Festival interview series
Interview with Jesse Cooday (Tinglit) ( Computer File )
3 editions published in 2005 in English and held by 3 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.'
Reverend Billy and the church of stop shopping by William Talen( visu )
2 editions published in 2003 in English and held by 3 libraries worldwide
Video documentation of Reverend Billy and his Church of Stop Shopping's performance-intervention, 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'. Reverend Billy is a character inhabited by the author/actor William 'Bill' Talen. An invention that resists titles like Performance Artist, Man of God, or Anarchist -- Reverend Billy and his Church of Stop Shopping have become popular as none of the above or as all three. In one form, this project is an interactive play, an evening-length church service that seems to evolve from comedy to some sort of secular spirituality that downtown New York hipsters embrace. Working in 300-seat theaters with large gospel choirs that sing anti-consumerist lyrics ('Stop Shopping! Stop Shopping! Now we can leave the Shopping Malls!'), the Reverend usually works, like a normal church, with a theme at each service. These range from anti-sweatshop concerns, to the neighborhood defense against the economy of tourism, to animal rights. However, Reverend Billy is best known for his Disney and Starbucks store invasions, which also combine the elements of drama, religion and politics. Post-performance discussion led by Jill Lane
Interview with Jesusa Rodríguez ( visu )
5 editions published between 1999 and 2004 in Spanish and held by 3 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 Alan Michelson ( visu )
2 editions published in 2005 in English and held by 2 libraries worldwide
Shortly after the opening of his show, 'Revealing the Absent Indian,' part of the 'New Tribes New York' series at the National Museum of the American Indian, Alan Michelson talks about the exhibit, which is a retrospective of his work. Much of his art has been informed by the fact that his was adopted out (Native people were adopted out in alarming rates in the 1940's through the 1970's) and only met his Mohawk family later in life. Michelson frames this issue within the larger subject of Native displacement. Another theme of his work is the landscape, which the artist uses to challenge the notions of supremacy and superiority. One of the pieces Alan concentrates on, 'Two Row II,' is a video installation which references the Two Row Wampum Belt that symbolizes the agreement under which the Iroquois/Haudenosaunee (the Six nations confederacy which Mohawk are a part of) welcomed the white peoples to their lands: 'We will NOT be like father and son, but like brothers. These TWO ROWS will symbolize vessels, traveling down the same river together. One will be for the Original People, their laws, their customs, and the other for the European people and their laws and customs. We will each travel the river together, but each in our own boat. And neither of us will try to steer the other's vessel.' The Haudenosaunee has kept the agreement to this date. Alan's artwork is also in the film and his show can be seen at http://www.nmai.si.edu/exhibitions/newtribe/
Interview with Steve Elm (Oneida) ( visu )
2 editions published in 2005 in English and held by 2 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 )
2 editions published in 2009 in Spanish and held by 2 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 María Galindo (Mujeres Creando) ( visu )
1 edition published in 2007 in Spanish and held by 2 libraries worldwide
Interview with María Galindo of Mujeres Creando, conducted by Diana Taylor 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). María Galindo is co-founder of Mujeres Creando (www.mujerescreando.org), an anarchist-feminist group created in 1992 in La Paz, Bolivia, that performs creative actions on the streets, produces videos, has its own newspaper and publishes books of poetry, feminist theory and sexuality, among other things. It is comprised of women of different cultural, social, and ethereal origins, and approaches creativity as an instrument of resistance and social participation
2boys.tv Zona pellucida ( visu )
1 edition published in 2007 in English and held by 2 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
Hula as resistance ( visu )
1 edition published in 2009 in English and held by 2 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 Randy Reinholz ( visu )
1 edition published in 2007 in English and held by 2 libraries worldwide
Randy Reinholz, an enrolled member of the Choctaw Nation of Oklahoma, is co-creator and artistic director of Native Voices. He has directed close to fifty plays across the US and Canada. Reinholz was the director and executive producer of Urban Tattoo and the critically acclaimed Equity productions of 'Jump Kiss,' 'The Buz'Gem Blues,' and 'Please Do Not Touch the Indians' and was the executive producer of the 2005 world premiere of 'Kino & Teresa.' In 2006, Reinholz produced and directed the world premieres and tours of 'Stone Heart' and 'The Red Road,' and the staged reading of 'Wild Horses' at The Kennedy Center's New Visions/New Voices. In 2007 his production of 'The Berlin Blues' premiered in Los Angeles. The last three Native Voices productions have been remounted at the National Museum of the American Indian in New York and Washington, D.C. Beyond directing and producing he has co-sponsored showcases and Native American diversity workshops for ABC and NBC and is an annual guest artist for the FOX American Indian Summer Institute. He received his MFA from Cornell University and is a tenured professor of Theatre, Television, and Film at San Diego State University in addition to being on faculty in the Program of American Indian Studies. Yvette Nolan (Algonquin from Kitiganzibi) is a playwright, dramaturg, and director. Her plays include 'Annie Mae's Movement,' 'BLADE,' 'Job's Wife,' 'Video,' the libretto 'Hilda Blake' and the radio play 'Owen.' As a dramaturg, she works across Canada, most recently as the Festival Dramaturg for Saskatchewan Playwrights Centre Spring Festival. She was the president of the Playwrights Union of Canada 1998-2001, and of Playwrights Canada Press 2003-2005. She is currently the Artistic Director of Native Earth Performing Arts in Toronto
Interview with Susana Cook ( visu )
1 edition published in 2007 in Spanish and held by 2 libraries worldwide
Interview with Susana Cook, conducted by Mila Aponte-González 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). Susana Cook (www.susanacook.com) is an Argentinean-born, New York-based political theater worker. Since 1991, she presented more than 16 original shows in NY. During the 1980s, she presented her pieces at the Centro Parakultural in Buenos Aires
Interview with Hortencia & Elvira Colorado (Coatlicue Theater Company) ( visu )
1 edition published in 2003 in English and held by 2 libraries worldwide
Interview with Hortencia and Elvira Colorado, of Coatlicue Theater Company, conducted by Diana Taylor during 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. Elvira and Hortencia Colorado, Chichimec Otomi storytellers, playwrights, performers and community activists are founding members of Coatlicue Theater Company. They are also members of danza Mexica Cetiliztli, New York Zapatistas and the American Indian Community House. The company's plays address social, political, cultural and identity issues that impact their lives and their community. Their work is based on stories they weave together which educate as well as entertain, while reaffirming their survival as urban Native American women. They have conducted storytelling/ theater workshops. They are recipients of the Ingrid Washinawatok Community Activism Award
Interview with Kennetch Charlette ( visu )
1 edition published in 2007 in English and held by 2 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
 
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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 (21)
Spanish (15)
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