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Announcements from the Americas


Como parte del festival "Junio: mes de la fotografía en Xalapa 2006" que este año se dedica, a modo de homenaje, a Graciela Iturbide, el fotógrafo argentino Julio Pantoja expone "Mascaritas", un trabajo de retratos hechos durante el carnaval de Oruro, Bolivia, en el año 2003, donde se busca reflexionar sobre la doble identidad que todos portamos.
La exhibición estará abierta al público desde el 2 al 30 de Junio en el Centro Cultural "Casa Principal", calle Mario Molina 315, en el centro histórico de la ciudad de Veracruz, México.

Check it and see, bring your sandwich and your knitting to the women's circle, we promise no jargon, this is our only Los Angeles appearance this summer and wouldn't it be nice to see us. Catch the address below.

butchlalis de panochtitlan


Saturday, June 3, 2006
Women Studies at the Huntington Library

"From Macha to Macho: Expanding a Visual Vocabulary"
Raquel Gutierrez, USC Center for Feminist Research & Butchlalis de Panochtitlan and Claudia Rodriguez, Butchlalis de Panochtitlan

"Feminism + Femininity = Anxiety, and Other Reflections on Performing 'Confessions of a Cha Cha Feminist'"
Maria Elena Fernandez, CSUN Chicano/a Studies

"Figuring L.A.: The Performative Force of Luis Alfaro's 'Pocho Nightmare- A Moo Moo Approaches'"
Tiffany Lopez, UC Riverside Department of English

Moderator: Rita Cano Alcala, Scripps College Hispanic Studies and Chicano Studies

9:30-10:00am: REGISTRATION
10:00-Noon: Presentation and Discussion
Noon: Lunch

Bring a sack lunch or buy a sandwich. Lunch tickets will be available during Registration. We will be eating together outdoors on the Garden Terrace.

Visit for more information. There is no charge for this seminar and no reservation is required.

The HUNTINGTON LIBRARY is located at 1151 Oxford Road in San Marino. for more information.

Cort(H)itos (2006)

Medianoche: Digital Media Gallery
New York City
Muestra de Cortometrajes/ Short Film Exhibit
Curadora/Curator: Carmen Oquendo-Villar
Montaje/Montage: Ozzie Forbes
Lugar/Space: MediaNoche: Digital Media Gallery
161 East 106th Street, East Harlem
Fechas/Dates: June 9, 10, 11 (7PM -9PM)
Costo/Cost: No Entrance Fee

Curatorial Statement:
Cort(H)itos intervenes where the myth of progress and the debris of history meet: the ruined city's body. Cort(H)itos screens audiovisual metaphors that flicker between the quotidian and the singular. The pieces flirt enigmatically with stories, images, sounds, silences, and movements that are uncanny, yet familiar.
Divided into four axes -city, face, collective and obverse- the exhibition includes various concept shorts: films, video art, and documentaries. Mismatched images and narratives draw the viewer into spatial and conceptual aporiae, such as the gap between dirt roads and futile architecture.
Cort(H)itos articulate themselves until they dissolve into their own poetics.

Declaración Curatorial
Intervenciones en la urbe como ruina del progreso, como arraso de la historia. Cort(H)itos está compuesta por una serie de metáforas visuales, audiovisuales, que se precipitan a partir de un acontecer que no se libra del hito. Coqueteos austeros con una historia que se siente otra, demasiado nuestra. Imagen filosa, sonido, pausa, andar automatizado.
Segmentada en cuatro ejes --ciudad, rostro, colectivo, anverso--, la muestra incluye distintos conceptos de cortos: films, videoarte, y documentales. Desecontradas las imágenes y los relatos, desvariados en los resquicios que separan los fangales de la arquitectura desmemoriada y fútil, las piezas de cort(H)itos van articulándose, hasta disolverse en su propia poeticidad de corto, de metraje.



Víctor Vázquez: Pies
Nayda Collazo-Lloréns: storefront window intervention
MAPR: Mónica Rodríguez: BurstOut
Carmen Oquendo-Villar/Chiara Merino: Foreign Correspondence
Anaida Hernández: 2 Minutes New York
Aixa Requena: Between Spaces
Alette Simmons-Jimenez: The Calling


Ozzie Forbes: Desinformación
Edra Soto: 3 Solo Practices
Viveca Vázquez y Eduardo Alegría: UY!
MAPR: Rosalin Suero: Drag Line
MAPR: Kristine Servia: Radial
MAPR: Katalina Iturralde: (We have no desire to elaborate) Gone to Croatan



Gian Carlos Silva De Jesus: Workers to Workers
Eduardo Cintrón: Tito governador
Eduardo Alegría: DESUNIVIRA/Cartago (basada en el concepto de Viveca Vázquez para Maroma)
Eduardo Lalo: Dónde


Wanda Ortiz: Abuelito
Bernice González Bofill: Mood Swings
Teo Freytes: Eu sou
Lior Shvil: Persona (Featured video from Israel)
Carmen Oquendo-Villar and Richard E. Ruiz: Boquita



Anaida Hernández: El tiempo: memoria del silencio
Ana Rosa Rivera Marrero y Ozzie Forbes: La perla, abiertamente

Visit theater practitioner slash performer slash visual artist slash scholar slash slash, that is GESAMTKUNSTWERK. Fernando is a doctoral candidate at Performance Studies New York University.

Visite teatrero coma performero coma artista plástico coma teórico coma, coma, en fin, GESAMTKUNSTWERK. Fernando es candidato al doctorado de Performance Studies en New York University.

BAiT - Buenos Aires in Translation

In the fall, BAiT will bring together four of the most dynamic playwrights from Buenos Aires, Argentina, with four American theater companies on the cusp of the avant-garde to perform in one of New York's leading cutting edge theaters, Performance Space 122. Buenos Aires is the epicenter of playwriting in Latin America. Particularly over the past decade, new playwrights from Buenos Aires have captured the attention of theater festivals and venues both in South America and throughout Europe. This evening, as part of BAiT's translation workshop, the following artists will present a reading of excerpts from a selection of newly translated plays: Argentinean theater artists Lola Arias, Federico León, Rafael Spregelburd and Daniel Veronese; directors Brooke O'Harra, Jay Scheib and Juan Carlos Souki; translator Jean Graham-Jones; Performance Space 122's Artistic Director Vallejo Gantner and BAiT's Creative Producer Shoshana Polanco.

BAiT is an initiative of Salón Volcán, co-sponsored by Performance Space 122, Martin E. Segal Theatre, Instituto Cervantes, and the Consulate General of Argentina in New York.

6:30 p.m., Wednesday, May 24, 2006, Martin E. Segal Theatre Center, The Graduate Center, The City University of New York, 365 Fifth Avenue (at 34th Street), NYC

Reservations: 1.212.817.8215 or Esta dirección de correo electrónico está siendo protegida contra los robots de spam. Necesita tener JavaScript habilitado para poder verlo.

Res. Code 6773


BAiT – Buenos Aires in Translation

El próximo otoño, BAiT reunirá a los cuatro dramaturgos más destacados de Buenos Aires con cuatro compañías de teatro norteamericano de vanguardia. Cuatro obras en idioma español - nunca antes producidas en los Estados Unidos - serán traducidas al inglés para ser representadas durante dos semanas en el Performance Space 122.

En su primera etapa, BAiT presentará una lectura de parte de las obras. Para esta ocasión, estarán presentes los autores de Buenos Aires, Argentina, Lola Arias, Federico León, Rafael Spregelburd, y Daniel Veronese; y los directores de Estados Unidos, Brooke O'Harra, Jay Scheib y Juan Carlos Souki; la traductora Jean Graham-Jones, el director artístico de Performance Space 122, Vallejo Gantner, y la productora de BAiT, Shoshana Polanco. Luego de la lectura se realizará una charla con el público acerca del proceso de traducción y de la colaboración de los artistas participantes.

BAiT es una iniciativa de Salón Volcán, co-patrocinada por Performance Space 122, el teatro Martin E. Segal, el Instituto Cervantes, y el Consulado General de la Republica Argentina en Nueva York.

Miércoles 24 de mayo de 2006 a las 6:30 p.m. en el Martin E. Segal Theatre Centre, The Graduate Center, The City University of New York, 365 Fifth Avenue (en la calle 34), Ciudad de Nueva York.

Reservas: 1.212.817.8215 o Esta dirección de correo electrónico está siendo protegida contra los robots de spam. Necesita tener JavaScript habilitado para poder verlo.
Codigo de reserva 6773
Entrada libre y gratuita.

Passing Judgement

The play Passing Judgment, which "explores issues of justice and cultural identity as a young Puerto Rican activist, convicted while a college student, is offered new hope by two young Latino lawyers re-investigating the case after 18 years," is having a performance:

Summer Season of New Plays at [Inside] the Ford. Ford Ampitheatre, Hollywood, CA, August 19th at 1pm.

False Testimony

Second Part

Choreography: Marianela Boan
Dancers: Megan Mazarick and Rebecca Lloyd-Jones
Filmmaker: Carrie Brueck
Musician and composer: Monica McIntyre

Movement, live music and real-time video acting in the same situation. Contaminated dance. Exploration of human beings living in a post-technological era. Affection among humans and between humans and image.

NYC presentations: La MaMa Theater, New York, next July 7, 8, 9
Painted Bride Art Center, Philadelphia, November 2006
Bates Dance Festival, Summer 2007


Archaeology of Performance: Theaters of Power, Community, and Politics

Edited by Takeshi Inomata and Lawrence S. Coben

Paperback. 339 Pages. Altamira Press. March 2006.

Unmasking Class, Gender and Sexuality in Nicaraguan Festival
by Katherine Borland
now available from the University of Arizona Press.
The first extended study in English of Nicaraguan festival arts, Unmasking Class, Gender, and Sexuality in Nicaraguan Festival is an ethnographically and historically grounded inquiry into three festival enactments during the Somoza, Sandinista, and Neoliberal periods: the carnivalesque torovenado masquerades, the transvestite Negras marimba dances, and the wagon pilgrimage to Popoyuapa. Through a series of interlinked essays, Borland shows that these enactments constitute a people's theater, articulating a range of perspectives on the homegrown and the global; on class, race, and ethnicity; on gender and sexuality; and on religious sensibilities. Borland's book is a case study of how the oppositional power of popular culture resides in the process of cultural negotiation itself as communities deploy cherished traditions to assert their difference from the nation and the world. It addresses both the gendered dimensions of a particular festival masquerade and the ways in which sexuality is managed in traditional festival transvestism. It demonstrates how performativity and theatricality interact to negotiate certain crucial realities in a festival complex. By showing how one locale negotiates, incorporates, and resists globally circulating ideas, identities, and material objects, it makes a major contribution to studies of ritual and festival in Latin America.

Katherine Borland is associate professor of comparative studies in the humanities at The Ohio State University at Newark and author of Creating Community: Hispanic Migration to Rural Delaware.


Conference Report:

Multimedia in the Border Zones (Los multimedios en las zonas fronterizas)
by Karen Taylor and Kelly Shanahan

Over 70 participants attended the first annual Interdisciplinary Conference on Immigration: Multimedia in the Border Zones, held February 27-28 in Mexico City.

An official inauguration, held February 26 at the Museo Nacional de Culturas Populares, set the tone for the two-day conference with welcoming speeches and a performance by the satirical cabaret theater troupe Las Reinas Chulas.

The main portion of the conference took place in the historic center of Mexico City at the Filmoteca de la Universidad Nacional Autónoma de México (UNAM) where participants selected from a rich program of over 50 presentations, lectures, film screenings and performances by scholars and artists who shared a common interest in issues surrounding migration across the Mexico/U.S. border.

Specific themes included the social and economic effects of immigration on women and families, working conditions of undocumented immigrants in the United States, anti-immigration vigilantism in the U.S., and the difficulties faced by Central American migrants traveling through Mexico en route to the U.S. border.

In addition to the academic presentations, the conference included three live performances (cabaret, theater, music); five photography expositions/presentations; four theater presentations in a roundtable discussion on theater and political discourse; and twenty-two films, including a mockumentary donated by Guillermo Gómez Peña, "The Great Mojado Invasion". The keynote speaker was Dr. Guillermo Hernández from UCLA who traced the changes of chicano culture through corridos in his multimedia talk entitled, "La cultura chicana en los Estados Unidos: Tradición y cambio." The conference was closed with a screening of De Nadie, a documentary that recently won the Public Prize at the Sundance Film Festival for its examination of Mexico's southern border and the experience of Central American immigrants who pass through Mexico on their journey to reach the United States.

With co-sponsorship from the UNAM, the Comisión México-Estados Unidos para el Intercambio Educativo y Cultural (COMEXUS) and the U.S. Embassy in Mexico, the conference was coordinated by film historian Angel Martinez of UNAM and Stephany Slaughter of Ohio State University, a visiting Fulbright Scholar at UNAM.

Performing Law

Julie Lassonde presents "Performing Law," a lecture including excerpts from her video and performance art work, at the conference Arts in Society in Edinburgh, Scotland on August 15-18, 2006. The exact time and date will be announced on the conference website as soon as the schedule is finalized (see

Julie is completing a Master's degree in Performance Art and Law at the University of Victoria (British Columbia, Canada). Her work advocates for a larger space for embodiment and non-written sources of law in legal scholarship and practice. She uses her performance work based on movement improvisation to demonstrate that we can learn directly from the body about the law. She believes that embodied performances of particular social groups—such as queer women claiming bathhouse space at the Pussy Palace in Toronto, Canada, for example—helpfully question the boundaries of legality and enable these groups to empower themselves within the legal arena. Julie recently presented a performance inspired by Indigenous law, and more particularly Anishinabe storytelling, as another example of non-text-based law. More broadly, Julie believes that our daily life and physical gestures, such as the clothes we choose to wear and the particular performances these clothes involve, constantly produce or reinforce legal norms.

For more information regarding Julie's work and future performances, please contact her in English or French by e-mail at Esta dirección de correo electrónico está siendo protegida contra los robots de spam. Necesita tener JavaScript habilitado para poder verlo..



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