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"The Spanglish neologism Pocha Nostra translates as either 'our impurities' or 'the cartel of cultural bastards or traitors.' We love this poetic ambiguity. It reveals an attitude towards art and society: cross-racial, cross-trans-or-post-national, polygendered, post-ultra-retro-experimental, neoindio, or a remix of the same or none, ¿y qué? ¿Cuál es el pedo? After all, nation-States are dysfunctional and dated."--Back cover.
La Pocha Nostra: A Handbook for the Rebel Artist in a Post-Democratic Society marks a transformation from its sister book, Exercises for Rebel Artists, into a pedagogical matrix suited for use as a performance handbook and conceptual tool for artists, activists, theorists, pedagogues, and trans-disciplinary border crossers of all stripes. Featuring a newly reworked outline of La Pocha Nostra's overall pedagogy, and how it has evolved in the time of Trump, cartel violence, and the politics of social media, this new handbook presents deeper explanations of the interdisciplinary pedagogical practices developed by the group that has been labeled "the most influential Latino/a performance troupe of the past ten years." Co-written by Guillermo Gómez-Peña in collaboration with La Pocha Nostra’s artistic co-director Saúl García-López and edited by Paloma Martinez-Cruz, this highly anticipated follow-up volume raises crucial questions in the new neo-nationalist era. Drawing on field experience from ten years of touring, the authors blend original methods with updated and revised exercises, providing new material for teachers, universities, radical artists, curators, producers, and students. This book features: Introductions by the authors and editor to Pocha Nostra practice in a post-democratic society. Theoretical, historical, poetic, and pedagogical contexts for the methodology. Suggestions for how to use the book in the classroom and many other scenarios. Detailed, hands-on exercises for using Pocha Nostra-inspired methods in workshops. A step-by-step guide to creating large-scale group performances. New, unpublished photos of the Pocha Nostra methods in practice. Additional texts by Reverend Billy and Savitri D., Dragonfly, Francesca Carol Rolla, VestAndPage, Micha Espinosa, Zulfikar Ali Bhutto, Praba Pilar, L. M. Bogad, Anuradha Vikram, and Annie Sprinkle and Beth Stephens, among many others. The book is complemented by the new book Gómez-Peña Unplugged: Texts on Live Art, Social Practice and Imaginary Activism (2008–2019).
Paloma Martinez-Cruz argues that the medicine traditions of Mesoamerican women constitute a hemispheric intellectual lineage that continues to thrive despite the legacy of colonization. Martinez-Cruz asserts that indigenous and mestiza women healers are custodians of a knowledge base that remains virtually uncharted. The few works looking at the knowledge of women in Mesoamerica generally examine only the written—even academic—world, accessible only to the most elite segments of (customarily male) society. These works have consistently excluded the essential repertoire and performed knowledge of women who think and work in ways other than the textual. And while two of the book’s chapters critique contemporary novels, Martinez-Cruz also calls for the exploration of non-textual knowledge transmission. In this regard, the book's goals and methods are close to those of performance scholarship and anthropology, and these methods reveal Mesoamerican women to be public intellectuals. In Women and Knowledge in Mesoamerica, fieldwork and ethnography combine to reveal women healers as models of agency. Her multidisciplinary approach allows Martinez-Cruz to disrupt Euro-based intellectual hegemony and to make a case for the epistemic authority of Native women. Written from a Chicana perspective, this study is learned, personal, and engaging for anyone who is interested in the wisdom that prevailing analytical cultures have deemed “unintelligible.” As it turns out, those who are unacquainted with the sometimes surprising extent and depth of wisdom of indigenous women healers simply haven’t been looking in the right places—outside the texts from which they have been consistently excluded.
Mexican Beasts and Living Santos This beautiful and extraordinary book is the result of a collaboration between two of the US's most widely acclaimed multimedia/performance artists. Illustrated throughout with numerous line drawings and photographs, many in full colour, it is based around a performance piece of the same name but stands on its own as a fascinating insight into Mexican and Mexican-American culture. Includes CD and tattoo transfer.
Discussing crises through diverse examples, including the UK's National Theatre, public art installations, Occupy LSX, repatriation ceremonies and performances of the everyday, this book asks how performance captures and resists what is considered (politically, ideologically, culturally or socially) 'inside' or 'outside' Europe.
This textbook provides a global, chronological mapping of significant areas of theatre, sketched from its deepest history in the evolution of our brain's 'inner theatre' to ancient, medieval, modern, and postmodern developments. It considers prehistoric cave art and built temples, African trance dances, ancient Egyptian and Middle-Eastern ritual dramas, Greek and Roman theatres, Asian dance-dramas and puppetry, medieval European performances, global indigenous rituals, early modern to postmodern Euro-American developments, worldwide postcolonial theatres, and the hyper-theatricality of today's mass and social media. Timelines and numbered paragraphs form an overall outline with distilled details of what students can learn, encouraging further explorations online and in the library. Questions suggest how students might reflect on present parallels, making their own maps of global theatre histories, regarding geo-political theatrics in the media, our performances in everyday life, and the theatres inside our brains.
X93;Truth is concrete” collects 100 strategies by artists, activists and theorists, mapping the broad field of engaged art and artistic activism today. Additional essays focus on the philosophy, structures and modalities behind the many fights to make this world a better place.
Famous performance activist Gómez-Peña explores the political and philosophical parameters of what's left for artists to do in a post-9/11 repressive culture and offers groundbreaking insight into his methods of production, development and teaching.
Consisting of critical analyses, theoretical provocations and practical reflections by leading scholars/practitioners from the fields of performance studies, live art and creative technology, these essays examine the rise of intimate performance works and question the socio-historical contexts provoking those aesthetic and affective developments.
In Exercises for Rebel Artists, Guillermo Gomez-Pena and Roberto Sifuentes use their extensive teaching and performance experience with La Pocha Nostra to help students and practitioners to create ‘border art’. Designed to take readers right into the heart of radical performance, the authors use a series of crucial practical exercises, honed in workshops worldwide, to help create challenging theatre which transcends the boundaries of nation, gender, and racial identity. The book features: Detailed exercises for using Pocha Nostra methods in workshops Inspirational approaches for anyone creating, producing or teaching radical performance A step-by-step guide for large-scale group performance New, unpublished photos of the Pocha Nostra method in practice Exercises for Rebel Artists advocates teaching as an important form of activism and as an extension of the performance aesthetic. It is an essential text for anyone who wants to learn how use performance to both challenge and change.