"Towards an Art of Transvestism: Colonialism and Homosexuality in Puerto Rican Literature." Queer Ricans: Cultures and Sexualities in the Diaspora. -----. He inserts himself within a cultural tradition of transvestism but resignifies this practice in a radical manner, since it is no longer a question of recreating typical images of female beauty but rather alluding to it in a strange and very unique personal game, one that, as the writer Mayra Santos Febres has stated, blurs the division between the sexes (2003). Wear white or neon colored outfits to really stand out! Cambridge: Harvard University Press. Las prcticas de la carne: construccin y representacin de las masculinidades puertorriqueas. 1997. Cardona, Javier. Joseph Roach is the Charles C. and Dorathea S. Dilley Professor of Theater and English at Yale University.
15 See Juli 2000 and Roche 2000 on Mercados collaborations with Andanza, especially during their trip to Spain for the First Festival of Performance sponsored by Casa de Amrica in Madrid. Translated by Annette Guevrez and Lowell Fiet. The research in the arts, which previously operated against the grain of dominant logics, now frequently becomes a conformist site of alternative inclusion in capitals ideological order. Experimentacin y canciones de amargue, o cuando una artista de cabaret se llama Awilda Sterling. Claridad 25 April-1 May: 26-27. photo/foto: Laura Bluher How Movements Matter Protest movements are sometimes the driving force in the transformation of societies. Africa prints her marks, traces and styles on the American territories, inscribing herself on the palimpsests that, by means of countless processes of cognition, assertion and metamorphosis, both conceptual and formal, transcreate and perform her presence and heritage. In 100 aos despus Cien artistas contemporneos. All Cirque du Soleil, View 10 See the many interesting articles on this topic in the special issue on Trans-, WSQ: Womens Studies Quarterly 36, no. The use and distribution of languages across the planet is changing so quickly that even experts cannot answer this question. Just tell us what you have in mind and we will take care of the rest. 2011. 18 An early mention appears in 1991 in the San Juan Star, when Peggy Ann Bliss began her review of the opening of the Ninth Biennial of Caribbean and Latin American Graphic Arts making reference to Mercado, who attended the event completely dressed in black with a long veil in the style of a Renaissance courtesan woman. Thus racial performativity becomes that much more apparent when filtered through the lens of gender (and its possible implications for sexuality). 1997. Conjunto 106 (May-August): 60-67. Conjunto 106 (May-August): 47-49. Ph.D. While Alegra grew up and began his artistic career in Puerto Rico, it was his period in New York and his participation in the alternative performance circuit in that city that fostered the most profound development of his work and his conceptualization of an identity as a gay Puerto Rican. New York: Routledge. Ticket prices are dependent upon the current market price, which is usually above the face value printed on the tickets. Neon Jump Night (A.K.A Rockin' Friday & Saturday) is Rockin Jumps exclusive after-dark jump experience. - $14.50 Adult tickets!! The five translocas I focused on share a certain visibility as members of an alternative cultural scene, in some cases experimental, other times fully integrated or clearly opposed to the dominant currents of our times. All West End Theatre, View *First 100 Adult Tickets sold online are only $14.50 at www.GardenBrosCircus.com. If you are not 18 years old, please ask your parent or legal guardian to complete this process. Accessed 10 May 2011. http://hidvl.nyu.edu/video/000512616.html, Collazo, Valeria. As head of this pre-eminent art school, Dean Campbell oversees all phases of its ten professional training programs, as well as its two scholarly programs.
VIP Ringside Seating right next to all of the action! 1991. While Cardona has lived in New York for a shorter periodincluding important stays in Brooklynreferences to North American issues already formed an important part of his early performance piece You Dont Look Like (1996). "Entre boleros, travestismos y migraciones translocales: Manuel Ramos Otero, Jorge Merced" y "El bolero fue mi ruina del Teatro Pregones del Bronx." His most recent directions include: Con-cierto Olvido (2010); El ultimo ensayo (2008); Sin Titulo-tecnica mixta (2004); Hecho en Peru-Vitrinas para un Museo de la Memoria (2001). Rockin' Tots offers a dedicated time when parents can have fun with their small children while socializing with their friends in a comfortable, low-key, air conditioned environment.
In this conference, I will analyze three public interventions, performed in contemporary Peru, that reopened discussions concerning political violence. His own self-portraits are sewn together and become clothes to be worn (De Jess); at other times, garments are quickly tied together, recycled, or sewn by his uncle, who is a tailor, while Freddie mixes and matches and puts garments to all sorts of unexpected uses. The well-known intervention NO + was the opening to a rebel narrative, and also opened a space for the word from the, Photo/ Foto: Marlne Ramrez-Cancio Folds in the Body: The Symptoms of Power Read this keynote ine-misfrica 4.2 Abstract This intervention intends to approach, somewhat arbitrarily, the effects of the body (of certain bodies) in the political arena and in aesthetic spaces. All Ballet, View 2 (Spring): 141-146. Loca can also be seen as the felicitous coming-together of Susan Sontag and Esther Newtons (m/other) camp, with the good grace of Judith Butler and Marjorie Garber (and Ben. "Taller de Otra Cosa anuncia su nueva produccin." It is a common, everyday word, used as an insult but also (in some very specific contexts) as a term of endearment. Minneapolis: University of Minnesota Press.
The five performers in question, in different ways and at different moments, allude to or incarnate tendencies, auras linked to this sphere, as gendered, sexed bodies marked by race and (unorthodox) desire, and located (voluntarily and involuntarily) in varied geographical contexts. Wilson Daz presented a retrospective of his visual arts work, which reveals recent Colombian struggles with violence and drug trafficking. "La identidad es una ficcin." 2009c. A graduate of Harvard University, where he studied Literature and History, he completed postgraduate studies at the Universidad de Buenos Aires. 1 (Spring): 314-329. http://redalyc.uaemex.mx/pdf/377/37719115.pdf, -----. It is the trip abroad, to the colonial metropole, that suddenly activates (or consolidates) the subjects ethno-national identity, manifest in the piece by a small Puerto Rican flag attached to the protagonists backpack. 2009a. "Islands at the Crossroads: Puerto Ricanness Traveling between the Translocal Nation and the Global City." Arthur Avils, Untitled, 1997.Photo: Richard Shpuntoff, Left to Right: Rhina Valentn and Arthur Avils, Super Mava de Oz, 2000. Son travail oscille entre la recherche universitaire, photo/foto: Marlne Ramrez-Cancio Presenters:Marianne Kim,Katherine Behar,Julio Pantoja Modratrice: Lorie Novak Biographies Disorientalism est une collaboration entre Katherine Behar et Marianne Kim. Biography Alejandro Meitin is an artist, lawyer, environmental activist, and co-founder of the art collective Ala Plstica (1991), which is based in La Plata, Argentina. Meitin has been involved in, Photo/ Foto: Julio Pantoja Lecturer: Ana Gita de OliveiraModerator: Octvio Elsio (Presidente IEPHA/MG) Biography Ana Gita de Oliveira holds a doctorate in Anthropology from the Universidade de Braslia. "Hablar, nombrar, pertenecer: el juego entre el idioma y la identidad en la(s) cultura(s) caribea(s)." Rockin Jump offers a truly unique childrens birthday venue loaded with exciting attractions where kids can have a blast on their big day. Verguilla Torres, Lynnette. Duncan, Martin Louis. San Juan: Instituto de Cultura Puertorriquea. With a mobile-friendly and easy-to-use interactive seating chart, we've made it simple for you to discover amazing seats. Nevertheless I find it fascinating to compare the five, in a type of Fernando Ortizean performative drag sancocho or stewpor no decir ajiacoprecisely because of their rather divergent styles, as a (queer) extension of the Cuban ethnographers historically important (and culturally and geographically specific) concept of transculturation. This essay brings together three distinct yet intersecting concerns: a vision of Puerto Rican culture constituted as a translocal phenomenon marked by migration (as a social phenomenon) and diaspora (as a series of interlinked communities); a queer of color analysis of Puerto Rican and Nuyorican or DiaspoRican culture, particularly as constituted in relation to class, gender, race, and sexuality; and finally, the study of particular manifestations of contemporary Puerto Rican theater and performance, specifically ones that engage male-to-female transvestism or drag. Mercados other creations also include the performance of cultural quotes or appropriations: dressed as an Muslim woman opposing the war in the Persian Gulf and decorated with military green plastic toy soldiers; a historical character of the colonial West Indian baroque; an Italian Renaissance damsel; a biracial, multifaceted figure with two faces, one in front and one behind: half black, half white, as a double who rescues the experience of slavery and its traces inscribed on the body in a game of hide and go seek. Berkeley: University of California Press. What new manifestations, manifestos, festivals, and manifs emergevia our changing visions of political spaces, intellectual arenas, and theeveryday street? Can gender be a fixed, static notion for those male performers who question conventional notions of sexuality? 2006. "Otras experiencias de identidad: el lenguaje corporal en el teatro y la danza contempornea en el Puerto Rico de los 90." On El Cotorrito see Laureano 2007. Thus, when one speaks of Puerto Rican cultureas well as global cultureit is necessary to take into account this translocal condition: the knowledge and experience of inhabiting different spaces and of being in intimate contact with diverse communities at multiple locations.4 In the specific case of Puerto Rico, translocality is the direct result of North American imperialism (the 1898 invasion of the island, the establishment of a colonial regime, the recruitment of migrant workers, and government sponsored massive relocations) and of the present-day world political and economic regime, which has favored continued migration outward and the simultaneous arrival of other immigrant groups.