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 Gomez-Peña's new book Ethno-Techno: Writings on performance, activism and pedagogy (Routledge Press, 2005) is out!


The performance of "extreme identity" is familiar to us all through the medium of television (just switch on Jerry Springer). So where does this leave the critical practice of artists who aim to make tactical, performative interventions into our notions of race, culture and sexuality?


Guillermo Gómez-Peña has spent many years developing his unique style of performance-activism, and theatricalizations of postcolonial theory. In Ethno-Techno: Writings on performance, activism and pedagogy, he pushes the boundaries still further, exploring what work is left for artists in a post-9/11 culture repressive of what he calls "the mainstream bizarre".

Extensive photos document his artistic experiments. The text not only explores and confronts his political and philosophical parameters, but offers insight into one of the most daring, innovative and challenging performance artists of our age.

Guillermo Gómez-Peña is a performance artist and writer, and artistic director of the San Francisco-based company La Pocha Nostra. His pioneering work in performance, video, radio, installation, poetry, journalism and cultural theory explores cross cultural issues, immigration, the side effects of globalization, the politics of language, "extreme culture" and the digital divide. His previous books include Warrior for Gringostroika (1993), The New World Border (1996) and Dangerous Border Crossers (2000).


Trangressões: religião, performance e arte.

Autor: Claudio Carvalhaes


Informações sobre o livro:

Nesta série de ensaios, Cláudio Carvalhaes usa ferramentas pós-modernas e pós-estruturalistas para desconstruir a noção de religião como concebida no ocidente cristão. É uma tentativa (ousada) de transgredir a racionalidade da religião, expondo sua estrutura metafísica excludente, sua universalidade conceitual e seu desejo de apropriação e autonomia. Bucando recuperar o que foi negligenciado no discurso cristão, Carvalhaes evoca/invoca a arte como parceira imprescindível para criar um espaço performático e litúrgico de amplo e interminável uso religioso.

Informações Sobre o autor:

Claudio Carvalhaes, nascido e criado em São Paulo, Brasil, esta fazendo seu doutorado no Union Theological Seminary em Nova York nos Estados Unidos.

Sítio na internet:


Transgressions: Religion, Performance and Art.

Author: Claudio Carvalhaes

Book Release:

In this series of essays, Claudio Carvalhaes takes up postmodern and poststructuralist tools to deconstruct the notion of religion as it was created by the Christian western thought. It is an attempt to transgress the way in which the rationality of religion was formed, denouncing its essentialist and excludent metaphysical structure, its universal concepts and its desire of appropriation and autonomy. Trying to recover what was denied in the Christian discourse, Claudio evokes/invokes the work of art as its necessary partner to create a larger and free religious performative/liturgical space.

About the Author:

Claudio Carvalhaes, born and raised in São Paulo, Brazil, is currently pursuing his Ph.D. at Union Theological Seminary in New York.


Blackface Cuba, 1840-1895

by Jill Lane

University of Pennsylvania Press, 2005.


Blackface Cuba, 1840-1895
offers a critical history of the relation between racial impersonation, national sentiment, and the emergence of an anticolonial public sphere in nineteenth-century Cuba. Through a study of Cuba's vernacular theatre, the teatro bufo, and of related forms of music, dance, and literature, Lane argues that blackface performance was a primary site for the development of mestizaje, Cuba's racialized national ideology in which African and Cuban become simultaneously mutually exclusive and mutually formative. Comparing the teatro bufo to related forms of racial representation, particularly those created by black Cubans in theatres and in the press, Lane analyzes performance as a form of social contestation through which an emergent Cuban national community struggled over conflicting visions of race and nation. 


"Blackface performance, treated in U.S. scholarship as if it were an exclusively national phenomenon, has not until now been the subject of an extended study for Cuba, where it was the main vehicle for shaping a sense of hybridity. Lane shows that performance reiterated the contradiction between blacks and whites while trying to overcome it. From acting up to impersonation, Lane links some liberating practices of anticolonialism in the Americas with the binding mechanisms for a new national unity."- Doris Sommer, Harvard University

Jill Lane teaches theatre studies and American studies at Yale University.



Sexualidades en disputa. Homosexualidades, literatura y medios de comunicación en América latina.


Autores: Daniel Balderston y José Quiroga.


Editorial Libros del Rojas, 2005