Roewan Crowe is an artist and writer and is energized by acts of disruption, radical transformation and the tactical deployment of self-reflexivity. She recently published Quivering Land, a queer Western engaging poetics to reckon with legacies of violence, colonization, and settler identity. She is an Associate Professor at the University of Winnipeg, Treaty One Territory.
Doris Difarnecio is an Afro-Colombian New Yorker living in Chiapas, Mexico. Her Master’s research at Centro de Estudios Superiores de México y Centroamérica focused on the body and memory in the popular theater of FOMMA, a Mayan collective of writers, actors, and poets. Doris creates and directs theatrical pieces based on global oral histories. She is also a co-founder of Arte Acción.
Javier Serna is professor of Letters and Analysis of Cultural Processes at the Universidad Autónoma de Nuevo León, Mexico. Publications include 50 Años de Teatro en Nuevo León,Narcocorridos,and Oratura. He received his PhD in Performance Studies from New York University, his MA in Drama from the Drama Centre London, and his MA in Anthropology from La Universidad Autónoma de Nuevo León.
Sala Enrique Noisvander, DETUCH
How do we manifest the artist’s repertoire, make visible artistic knowledges, skills, and theory, describe the process and depth of art-making, and transmit these knowledges? We understand the repertoire to be both ephemeral and embodied cultural and social practices of transmission. We situate ourselves at the crossroads of hemispheric regimes as the queer, the troublesome, the heretics––passing through the confines of the normative to break down binary and unitary paradigms. Deeply affected by the processes of colonization, we are interested in what artistic knowledge transmission looks like within a decolonizing framework. Our focus is to sustain, proliferate, and transmit the artist’s repertoire through multiple explorations, divergences, and articulations.
Ana Harcha works with the research group ARTEA of the Universidad de Castilla-La Mancha and organizes the Empresa de Circo Pacheco-Kaulen. She is a professor in the Department of Theatre, Faculty of Arts, Universidad de Chile (DETUCH). With Núcleo Arte, Política y Comunidad, she leads the Comisión Ortúzar in creating interdisciplinary work from the meeting minutes of the 1980 drafting of the Chilean Constitution.
Núcleo Arte, Política y Comunidad is a multidisciplinary work collective comprised of mostly students and professors at the Universidad de Chile. The group proposes collaborative research into the possibilities of art as a means of producing critical thinking around specific questions related to the historical and political development of Chile from 1973 to the present.
Sala Augustín Siré, DETUCH
The work group will work on models of artistic action where a clear accent meshes well with the commitment of political visibility of issues linked to specific contexts, observing strategies of reflection and creation in order to create the proposals. The aim is to enrich the knowledge that each group member possesses about these models, while expanding possibilities for thinking critically about the concepts of art, politics, and community.
María Emilia Tijoux holds a Doctorate in Sociology and is the coordinator of the Research Group on the Sociology of the Body and Emotions at the Universidad de Chile. Her most recent research focuses on social exclusion, racism, as well as on the practices of punishment, animalization and dehumanization in Chile.
Constanza Ambiado is a historian and aesthete at the Universidad Católica de Chile. She is co-coordinator of the Research Group on the Sociology of the Body and Emotions at the Universidad de Chile. Her work is an interdisciplinary approach to understanding practices of violence from the intersections of social sciences and the arts.
Sala 29 A, DETUCH
This work group has been conceived of as a space of debate and reflection on the practices of racism, memory, and punishment. The idea is to think of these practices and how they are woven together by history, bodies, and emotions in contemporary societies. The main objective is to generate investigative proposals through the mise-en-scène of experiences, images, and objects that summon the senses. The end goal is to collectively build a project through the collaboration of participating scholars, artists, and activists.
José Miguel Candela earned a degree in music from the University of Chile and is currently pursuing his MA with a focus in Music and Technology from la Pontfica Universidad Católica de Chile. He has created music for film, theater, and especially for contemporary dance. He currently serves as a professor in the dance department at the Universidad de Chile.
Daniela Marini holds a Masters in Performing Arts Practices and Visual Culture from the University of Alcalá and earned her Bachelor of Arts and Professor mention Specialized Dance Dance, U. de Chile. She is a professor of dance at the University of Chile, where she is also coordinator of creation. Her choreographic creations include Persistence of Material, What I Remember and Geographic, among others.
Amílcar Borges de Barros is a teacher, actor, director and theater researcher. He studied at the Federal University of Bahia and the Universidade do Estado de Sao Paulo, earning a degree in Performance from the University Finis Terrae. He researches the body staging perspective, focusing on body techniques involved in the actor’s creative process. He is Creator and Director of the Body Drama Theatre.
Sala Eugenio Guzmán, DETUCH
Exploring silence as utopia becomes a political act in contrast to systemic horror vacui. Exploring time as subjectivity becomes enactment and thus an act of resistance. In sites of sonic invasion and wherever an objective time is established, the body can free itself from this oppression—which is paradoxically silent and constant—and can propose an active and profound dissidence, extending its subjectivity between subjectivities. Our goal is to explore the concepts of time and silence in their relationship to the body as soma, and its projection to the audible and the visible. To that end, we will first propose previous theoretical frameworks (Erika Fisher Lichte, Geisha Fontaine, Michel Foucault, John Cage, Luigi Nono), and then engage in a practical exploration (Practice led Research) that allows us to yield, as a result, a performatic space of reflection around these themes.
Julieta Paredes Carvajal is an urban Aymara woman and is a poet, singer-songwriter, author, and graffiti-artist. She is a part of Women Creating Community and, together with the Assembly of Communitarian Feminism, created a current of thought and action called Communitarian Feminism, bringing together women throughout the continent.
Skawennati makes art that addresses history, the future, and change. Her new media projects have been widely presented in major exhibitions such as Now? NOW! at Denver’s Biennial of the Americas. Born in Kahnawake Mohawk Territory, she holds a BFA from Concordia University. She co-directs Aboriginal Territories in Cyberspace and the Initiative for Indigenous Futures.
Dylan Miner is a Wiisaakodewinini artist, activist, and scholar. He is the author of Creating Aztlán: Chicano Art, Indigenous Sovereignty, and Lowriding Across Turtle Island. His project Anishinaabensag Biimskowebshkigewag (Native Kids Ride Bikes) is on view in Sweden and his solo exhibition Michif–Michin (the people, the medicine) opens Summer 2016 in Vancouver.
Jeneen Frei Njootli is a multidisciplinary artist and academic, and a member of the Vuntut Gwitchin First Nation based in Vancouver, unceded Coast Salish territory. She is working towards her MFA at The University of British Columbia with a focus on decolonial aesthetics. Her works are in the permanent collections of The Yukon Permanent Art Collection, among others.
Rodrigo Hernández Gómez is a transdisciplinary artist/activist born in the valley of Anahuac, Tenochtitlán/Mexico City, of Nahua family, living in unceded Coast Sailish Territory/Vancouver. He holds an MFA from York University and explores visual and performative epistemic resistance and resurgence. He currently works with cultural organizations and peoples to critique multiculturalism from an urban indigenous, migrant perspective.
Dot Tuer is a writer, curator and cultural historian based in Toronto, Canada, and Corrientes, Argentina. She works on decolonial Canadian and Latin American performance, photography, and new media. She is author of Mining the Media Archive and numerous museum catalogue, book anthology, and journal essays. She is a professor of Visual and Critical Studies at OCAD University.
Mon 7/18 – Weds 7/20: H307, Tecnoaulas FEN
Fri 7/22: F13, FAU
The goal of this work group is to explore ideas and expressions of the sovereignty of the body and territorial integrity of indigenous peoples of the Americas in order to question colonial racist patriarchal centricity and assert eccentric community propositions. The focus is on the sovereignty of indigenous bodies and territories because political dissidence is not enough. This focus also builds upon the exchange and dialogue around indigenous sovereignty and aesthetics that began at the Montréal Encuentro. As a group, we will collectively work towards decolonizing the imaginary around bodies, knowledge, knowing, pleasure, aesthetics, as well as to exercise the possibility to dream. We will explore ex-centric processes of depatriarchalization and decolonization in relation to women’s bodies, pleasure, and sexuality. We will explore the interconnection of depatriarchalized and decolonized bodies and territories through different visual and performative media. The work group will conclude with a performance of bodies and territories in which all participants can take part.
Brenda Werth is Associate Professor of Latin American Studies at American University in Washington DC. Her research interests include Latin American theatre, documentary film, performance, gender, memory studies, and translation. She is currently working on a project exploring the politics of non-fiction in twenty-first century Argentine documentary theater and film.
Paola S. Hernández is Associate Professor of Spanish and Latin American studies at the University of Wisconsin-Madison. Her areas of research and teaching include Latin American theatre and performance, sites of memory, and human rights. Her current project examines the role of the “real” in visual arts, contemporary documentary theatre and urban ethnography in Argentina, Colombia, Chile, and Peru.
Jorge A. Hernández Esguep, Professor & Director of the Institute of Visual Arts, Faculty Of Architecture and Arts of the Universidad Austral de Chile. His research focuses on the fields of performance, Fluxus, art / action and urban intervention. He is co-founder of Black Angels where he took part in the exhibition of Losing the Human Form at the Reina Sofia National Museum (2013).
Sala Victor Jara, DETUCH
This group seeks to explore the visual poetics of direct action-art in the form of performance and urban intervention in the social, political, and cultural landscape of Santiago de Chile. Our objective is to create intellectual and artistic dialogue between literary, critical, and theoretical texts and to use that dialogue to guide our interaction with urban spaces in Santiago charged with historical and political meaning. As a group, we will explore the affective resonance of walking through, embodying, and participating in the political and historical resignification of these emblematic city spaces. We will collectively examine the role of art and performance in a political framework by considering the history of Chile’s socialist tradition and the impact of political parties like the Unidad Popular. We will also take into account the utopian discourses related to the hombre nuevo in Latin America, as well as the role of the arts in resisting the last military dictatorship. Finally, we will explore recent student movements in Chile as a new iteration of artistic and political intervention in the city. For our final project, work group members will develop a creative group project (e.g., documentary, installation, intervention) designed to revive and engage the social, political, and cultural histories of these diverse urban sites.
Peter Kulchyski grew up in northern Manitoba and was one of the few non-Aboriginal students to attend a government-run residential high school. He has a PhD from York University and is one of the senior Canadian scholars in Native Studies. He is head of the department of Native Studies at the University of Manitoba.
Smaro Kamboureli is the Avie Bennett Chair in Canadian Literature at the University of Toronto, specializing in diaspora studies. She is the editor of Lee Maracle’s Memory Serves: Oratories (forthcoming in the fall of 2015).
Praba Pilar is a Colombian multi-disciplinary artist, technologist and cultural theorist exploring aspects of emerging technologies which generate globalized forms of economic and ecological crisis. She has spent the last decade and a half presenting counter narrative performances, street theatre, interactive installations, digital artworks, writing and websites.
7/18 – 7/20: H302 Tecnoaulas FEN
7/22: B23 FAU
This work group explores collective practices, spaces, temporalities, and movements that surface as alternatives to global homogenization and the neoliberal project in particular.
From the experience of the groups that participants work with, this work group focuses on embodied practices that expose and counter the complicit role of the state in the spread of neoliberalism and/or creative practices that spark grassroots emancipatory social transformation. We question the idea of “the citizen,” the unchecked universality of human rights, the State as the ultimate unifying force for social organizing, the fantasies of uprooted global thought, and the current meltdown of capitalism. Our bodies mark our dissent, our dissent marks our bodies.
We hope to reflect on possibilities for the future, looking at examples of social practices that are working today throughout the hemisphere as glimpses of that “other world” that it is possible to build.
Rachel Bowditch (MA/PhD) is Associate Professor at Arizona State University. She focuses on festivals, utopia, and experimental performance. Her book On the Edge of Utopia: Performance and Ritual at Burning Man was published as part of the Enactments Series (Seagull Press/University of Chicago Press). Her second book Performing Utopia will be out in 2016. rachelbowditch.com; vesselproject.org
Zeca Ligiéro has a PhD in Performance Studies from NYU and two post-doctorate degrees from Yale University and Paris 8. He is tenured professor at Universidade Federal do Estado do Rio de Janeiro and coordinates the Núcleo de Estudos das Performances Afro-Ameríndias. He has directed works including Povo de Rua and Desabrigo, by Antonio Fraga. He is author of Initiation into Candomblé: Introduction to African-Brazilian Religion and Augusto Boal: Arte, Pedagogia e Política, among many others.
Milla Riggio, James J. Goodwin Professor of English at Trinity College received her Ph.D. from Harvard University. She is focused on Trinidad Carnival and culture. Among her edited books and monographs are Ta`ziyeh: Ritual and Drama in Iran; The Play of Wisdom: Its Text and Contexts and Teaching Shakespeare through Performance. She has also written on Hindu Ramleela performances in Trinidad.
Paolo Vignolo, associate professor at the National University of Colombia, works on public history and memory studies. Both his publications and his artistic projects focus on: 1) poetics, politics and practices of play and festive performance and 2) cultural heritage, cultural rights and cultural agents. unal.academia.edu/PaoloVignolo
7/18 – 7/20: H301, Tecnoaulas FEN
7/22: B24 FAU
Excess is a crucial aspect of many carnivals and popular fiestas in the Americas. The etymology of the term (from the latin ex “outside” + cedere “to go, to cede”) reminds us of its intimate relationship with the eccentric, in so far as it evokes a longing to go beyond that transcends, disturbs and exceeds the individual subject and social norms. At the same time, this takes us to the question—crucial for every festive practice—of the handling of excess. The potlatch and the sacred debauchery, the rituals of giving and receiving, the clashes between moral economies and capitalist expansion, the cycles of prosperity and destitution, the diasporic wanderings of ancestral traditions—, all account for the aporia of carnival/fiesta, where excess is also the government of excess, exuberance tests its limits, and the extravagant is at the heart of the familiar.
We are interested in proposals that question the excessive character of carnival aesthetics and economies—, seeking the creases, the gray zones, the porous and unsettled borders that allow for alterations and alternatives, dissidences and subversions, which to radically question the anthropological gaze of an homo economicus obsessed with accumulation and scarcity, and the social outlook of a status quo based on the laws of supply and demand.