Trasnocheo

The end of the world is represented as a terrifying prospect, in which the inevitability of destruction outweighs the inevitably of rebirth. This work-in-progress addresses the importance of creating the future we want to see. Ensemble members Frantz Jerome and Aisha Jordan perform a section on police brutality and the society that breeds it.

An exploration of mixed race identity through spoken word, video, and interviews. Both humorous and profound, this work-in-progress engages with issues of color, ethniticy, ancestry, and belonging.

What is it to be “American” when you only know one America? What is it to try and reckon with privilege when you are grown up to take for granted all that you have? And como can una gringa qui knows que everything is muy malo try to make el mundo a better place?

Come explore the “Migratory Museum,” an ongoing interactive performance installation. Visit its Hall of Missing Objects, participate in the Truth Experiment by testifying to an archaic detective device, and experience New Pre-Columbian divination techniques.

A new ephemeral artwork is created each day in different locations around the city of São Paulo over the course of the Encuentro, using only recycled and found materials from the city’s streets.

This is a performance project devoted to exploring the metaphor of the butterfly (particularly the monarch) as not only a symbol for undocumented Latina/o migration, but also for queer bodies, as in mariposas. Employing body stamping, rebel movement, action art, video, sound, and object installation, I move in and through this metaphor from a trans space: transgender, transspiritual, transnational, among others. 

This is the way my country looks from the outside. Now I want you to see it from the inside. Because this is how you will really get to know, who we are, how we act, and what we dream. Because if there is something we Colombians actually are, it’s dreamers.

Performance art cabaret demands that longer work with larger casts and sets is translated to a solo performed with some improvisation—here, a retelling of Memorias de la Revolucion with Sor Juana poems and a German/English/Spanish song medley.

This work is focused on the DJ booth as performance space—this figure in charge of “directing” the party, in an environmental, spiritual, mental, and interactive sense. This piece is centered around party as performance and the search for other forms, through the ritualistic communion implicit in the idea of partying.

Inspired by the old Latin American ballad, “Bésame Mucho,” interdisciplinary artist, Hector Canonge creates an intimate Queer orgiastic experience with the participation of the audience as they are invited to submit themselves to his passionate whispers, longing kisses, and his gender-bending demonstrations of affection.

Forsenga is an interdisciplinary performance art installation, responding to multidisciplinary artist Senga Nengudi’s sculptural works often referred to as the R.S.V.P. ‘hosiery series’. Like Nengudi’s practice - which comments on the female body through common household materials - Forsenga explores the erasure of the female form and aspirations of images of perfection never reached.

Auto-ethnography that maps the artist’s/woman’s/political body’s general difficulties swallowing all things hypocrisy and manipulation in our movements. Through her incredible love affair with activism comes the artist’s wild fancies of collective possibilities mixed with penultimate violence.

This performance is an interactive piece that consists of multiple calls and responses and the creation of linguistic soundscapes.

Guru Lectures is a series of performances that began in 2010 in ENAP (Anthropology and Performance Encounter) held at USP, São Paulo. Based on an autobiographical, self-ironic sequence, unusual relationships are woven, crossing the territory of total miscommunication.

Imagine a sensible man. A romantic. Mature. Single. Owns a house. Looking for the ideal place to be happy with someone at his side. He is everything that you never imagined and more.

Sujeto Transnacional (Transnational Subject) is a 20-minute performance-lecture that creates a hybrid between experience, self-reflection, and theorization of the ways in which transnational subjects negotiate the complex world we live in.

A poetic exploration of the apocalyptic imaginary, using time and space travel, travel across dimensions and realities as a slipstream lens into the ways that queer and trans people of color, latinxs and pochxs are already creating new realities. Words and movement by Micha Cárdenas and sound by Bobby Bray.

Jerusalem In My Heart spins an overdose of cultural elements that put listeners in trances, fusing psychedelic elements of Arab culture with modern electronic sounds and images.

A performance that intensifies mass cultural discourses to the point of parodying the imaginaries that homogenize our sociocultural realm. Specifically, two typical Brazilian characters: Alzira, the carnavalesque “temptress,” and the soccer player idolized by all poor neighborhood kids.

Urayoán Noel is a New York-based Puerto Rican poet, performer, and critic who teaches at the University at Albany, SUNY. His recent works include the book of poetry and multilingual performance texts Hi-Density Politics (2010) and the multimedia project The Edgemere Letters, an ongoing collaboration with the artist Martha Clippinger.

Víctor Hugo Robles is a journalist, homosexual activist, street performer and apostate known as “El Che de los Gays.” His work is featured in the documentary “El Che de los Gays,” which won the Audience Prize at the 2005 Bilbao International Gay/ Lesbian/Trans Film Festival. In 2010, he began a campaign for “apostasy” by publicly renouncing his Catholic baptism and becoming the first judicially recognized apostate in Chilean history.