The Mutant Sponge from Estridentópolis

Performance is a mutant sponge that absorbs and transforms all expressions of performing arts, social movements and sociocultural theories. By making noise, this very powerful sponge has the ability to shake the structures that surround it. In Mexico, its history is linked to the legacy of the Estridentista movement, which emerged from the ashes of the Mexican Revolution to propose the first underground avant-garde of the country. During the 1920s, the movement sought refuge in the city of Xalapa, the capital of Veracruz, which came to be known as Estridentópolis. It is in such movements of political exile and artistic dissidence, in communities of creators who resist demagogy through critical humor, that the mutant sponge of performance finds a key strand of its genealogy. Estridentismo created a type of performance called “The Mexican Bat Theater,” a hybrid show that combined folk dances with urban satires, with characters ranging from rural charros to "fifís," or city dandies. This performative “Bat Theater” takes us across the borders of space and time to meet the Chicana poet Gloria Anzaldúa, who was inspired by the bat god of the Indigenous Zapotec culture to theorize the ability of border-crossing artists to see the world upside down.


Antonio Prieto-Stambaugh is a professor and researcher in the School of Theater and the Center for the Study, Creation, and Documentation of the Arts at the Universidad Veracruzana, where he is also Coordinator of the graduate program in Performing Arts. He is a member of Mexico’s National System of Researchers (SNI), specializing in contemporary Mexican theatre and performance with a particular interest in artists who work on issues of gender, the nation, sexuality, and ethnicity. He holds an M.A. in Performance Studies from New York University’s Tisch School of the Arts, and a Ph.D. in Latin American Studies from the Faculty of Philosophy and Letters of Mexico’s National Autonomous University (UNAM). He has edited four books, including Jerzy Grotowski. Miradas desde Latinoamérica (Universidad Veracruzana, 2011) and Corporalidades escénicas. Representaciones del cuerpo en el teatro, la danza y el performance (Universidad Veracruzana, 2016), with con Elka Fediuk. He is currently Director of the journal Investigación Teatral. Revista de artes escénicas y performatividad.

Published in Lectures

The 4T's Enigma: Against Hate, Humor

“What would be the wonder, of such noble quality, which is blindness with the eyes and, without vision, understanding?”
-Sister Juana Inés de la Cruz

This lecture revolves around the resistance to change and the possibility of collectively facing a new reality of equality and justice in Mexico.


Jesusa Rodríguez (Mexico, 1955) is a scenic creator. From 1980 to 2018, she directed and performed in opera, theater, and political farces. Since December 2018, she has been a Senator in Mexico. Her greatest achievement was, and still is, to accumulate disgrace. She was awarded Best Actress at the Festival of the Americas in Montreal, 1989, and is a recipient of a 2000 Obie Award, with Liliana Felipe.

Arturo Chávez López (Presenter) is a Sociologist with a PhD in Sociology from the Faculty of Political and Social Sciences (FCPyS) of the UNAM. He holds a Master’s degree in Political Sociology from “Dr. José María Luis Mora” Institute and a BA in Sociology from the FCPyS. He is a full-time professor with the Center for Sociological Studies, and currently holds the position of Secretary General of the FCPyS of the UNAM. He previously served as Head of the Division of Professional Studies and Coordinator of the Center for Sociological Studies. His areas of research include political sociology and sociology of law; sociological theory and methodology in the social sciences.

Diana Taylor (Presenter) is University Professor and Professor of Performance Studies and Spanish at New York University. She is the award winning author of multiple books, among them: Theatre of Crisis (1991), Disappearing Acts (1997), The Archive and the Repertoire (2003), and Performance (2016). Her new book, ¡Presente! The Politics of Presence, is forthcoming with Duke University Press. Taylor is director of the Hemispheric Institute of Performance and Politics which she helped found in 1998. In 2017, Taylor was President of the Modern Language Association and was recently elected to the American Academy of Arts and Sciences. In 2018 she was inducted into the American Academy of Arts and Science.

Published in Lectures

[MONSTRA CABARET] -“Among Democracies and Other Misconceptions”-

in times of post-truth
is pure fallacy

governing violences
annihilating existences

WE ARE KILLED *porno* ser / for not being
WE ARE RAPED *porno* star / for not being

bodies without rights
waiting to be undone

twisted sequins
subversive monsters

sharpening our blades
infecting existence as guerrillas

males go on cutting
bodies liberating
orgasms unleashing


Pacha Queer is a dissident performance and politics trench in Ecuador. MoTa (Eduardo Fajardo) and CoCa (Fernando Rodríguez), gender terrorists, pleasure rebels, transfeminist witches, abort guerrilla performances, fostering the liberation of thought through artistic (re)action, counterculture, “zorrority” and autonomy.

Published in Trasnocheo


This performance is an interpretation of traditional Mexican song, using harps, violons, violoncellos, and the voice of La Bruja De Texcoco, accompanied by Marusia Pola Mayorga on violoncello.


La Bruja De Texcoco is a musical and performance project that rejects masculinity in Mexican music, hijacks it and opens it up to extravagant scenarios reigned by femininity, huipiles, masks, and sequins. Recently, La Bruja de Texcoco launched their first album entitled DE BRUJAS PETENERAS Y CHACHALACAS. | @labrujadetexcoco

Published in Trasnocheo
Friday, 26 April 2019 17:37

Compañía CroMagnon: Fragile Andro

Fragile Andro

Fragile Andro is a choreographic workshop where 30 men will create a score that responds to the fragility of masculinity in public spaces. It is a moment of pause where men are guided into a body that breaks down and opens up to new possibilities of affective movement.


Compañía CroMagnon (Mariana Landgrave, Diego Cristian Saldaña Sifuentes, Alejandro Guerrero) is an ensemble of performing artists working at the intersection of music, theatre, and performance. They explore the potentialities of sound and the presence of actors in starting conversations on politics and aesthetics.

Published in Trasnocheo
Friday, 26 April 2019 17:35

Pancho López: Love is Crap

Love is Crap

Love is Crap is a parody about the relationships we maintain, swallowing them each and every day despite our dissatisfaction.


Pancho López (Mexico) is a performance artist interested in everyday life, human nature, and how it relates to artistic expression. He is the founder and current director of the Extra! International Performance Art Festival. His work has been presented in several countries around the world. In 2018, he received a Jumex grant.

Published in Trasnocheo
Friday, 26 April 2019 17:35

Hector Canonge: Bufoncero


Bufoncero is a character inspired by the traditional figure of the Bolivian carnival, “Pepino Chorizo.” This live performance is a ludic interplay of rhythms, dance movement, and spoken word, using humor and satire to deliver a poignant, colorful, and witty critique about the current state of the world.


Hector Canonge is an interdisciplinary artist, independent curator, and cultural entrepreneur based in New York City. His work explores constructions of identity, gender roles, and migration politics. His socially engaged performances, interactive installations, and dance projects have been presented in museums and galleries in the U.S. and abroad.

Published in Trasnocheo

Fucking with Philosophers

Kegels for Hegel will perform several songs from their work-in-progress-album, Fucking with Philosophers, including “Take me to Yr Borderlands (Love Song to Gloria Anzaldua),” “Thing (Love Song to Karl Marx and Friends),” and “I Wanna Fight you to the Death (Love Song to G.W.F. Hegel).”


Kegels for Hegel is a U.S.-based conceptual art project that writes raunchy, irreverent love songs to philosophers and other thinkers, makes music videos, and does performances.

Published in Trasnocheo
Friday, 26 April 2019 17:35

Alexis O’Hara: OUFF


Late capitalism, youth culture, white privilege, oh my! OUFF is an onomatopoeia, the heaviest of sighs. A deconstruction of white privilege in all its ugly shades. The costume mutates and the décor expands to threaten us all. This is the non-white of whiteness, a rich-lady rosé, the sad sick beige of a dirty bandage, an angry, saggy fake-tan.


Alexis O’Hara has toured internationally with spoken-noise performances and sound installations that abet spontaneous musical collaboration between strangers. She has dropped four albums and enough helium balloons to get her dress caught in a chandelier. Alexis and her drag king alter ego, Guizo LaNuit, are pillars of the Montreal cabaret scene.

Published in Performances


Two gay “adultescents” of the past, Shine and Silence, begin a romantic recital in honor of the “problem,” asserting that all of the LGBTTTTTTTTTTTTT (etcetera) community’s problems have already been solved by the political parties, world governments and transnational companies… There’s nothing else they can do but live in an artificial nostalgia and remember the habits of bygone days.


José Antonio Cordero* (Aguascalientes, 1971) is a scenic creator and cinematographer. He studied Cinematography at the Centro de Capacitación Cinematográfica. In his stage performance, Cordero combines cabaret and staging, using acting research and dialogue between theater and audiovisual creation.

Tareke Ortiz* studied Composition and Ethnomusicology at UNAM's School of Music. As a cabaret performer, he has presented his work across Mexico and in cities throughout the United States, Brazil, Argentina, and the United Kingdom. He is currently the Artistic Director of the Cumbre Tajín International Festival.

(*Pertenecientes al Sistema Nacional de Creadores de Arte)

Published in Trasnocheo
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