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I, Carmelita Tropicana: Performing Between Cultures Summary & Study Guide. Download Lesson Plans. 30 I, Carmelita Tropicana: Performing Between.
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Edited by David J. Leonard and Agnes Lugo-Lugo. Mexico City, Mexico. Comparative poetics of the Americas: literature, film, performance, other cultural production in U. Specialization in narrative theory and hemispheric framings of minority literary and cultural studies.

Border" at Dept. November 2, July August 4, April, August, May College Park, MD.

Monday, April 25, 2016

Albuquerque, NM. February 22, Albuquerque, New Mexico. February 10, September 1, March 28, New Britain, CT, October,, March , San Franscisco, CA. Her role as the black These counterperformances do more than iron-woman of recent and nefarious US policy simply reject the dominant national perfor- is unsettling to those who have not totally come mance that shores up power at this particular to terms with the fully realized phenomenon of historical moment.

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Such performances would black neoconservatism. Rice seems exceptional and this exceptionality is at Instead, Fusco replicates the performance of the core of the political moment we currently power in an attempt to understand its dimen- live in, where the state mobilizes political sions and larger social repercussions. Fusco theatre in lieu of truth and often against infiltrates rather than attacks. But hers is not obvious and open dishonesty. While the single a literal infiltration. The Cadre, the group of black woman has been the scourge and often ex-military men who work as interrogation scapegoat of the neoconservative and neoliberal trainers are not clueless about who Fusco and movements, Rice stands out as the exception.

She is not them. Thus a national asset. In and justify unchecked and abusive manifesta- the same way that Secretary of State Rice does a tions of power amid a general scene of savage certain symbolic work as an individual—a black social asymmetry. Its effects are meant to be is a performance of infiltration into the logic of naturalizing. Yet it ultimately reveals the imperialist process of naturalizing. The video carefree. It rarely offers the audience the begins by meditating on the presence of female comfort of illusion or shadow. Her work torturers in the Abu Ghraib prison photos. It folds back Pvt.

https://leidtelupginro.cf/the-gifts-of-moolas-travels-my-journey-begins.php

CSRC Newsletter - June 2014

The nation was meant to see England quences. Jessica Lynch. Operation Atropos and A and now of our political situation. It is also a. They are Ensemble. Women constitute 15 percent of the spectacle of stars and stripes to reveal the armed forces in Iraq and 35 percent of US neoimperial military field attire beneath. I recall, as I was conceptualizing the scope of this exhibit, thinking about why it felt needed to return to this particular moment.


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What was useful about re-engaging or surfacing these artists now? What do you think the interest in these plays is about? Some plays like Boys in the Band are celebrate how far we have come. We have a computer lab there at the center, and on the wall, we have a picture of Reagan, a kind of reminder.

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As you were talking, I was thinking about some of your own research. Now, though, so many of them have become quite commodified in a particular way.

I Carmelita Tropicana Performing between Cultures Bluestreak

Those types of corporate sponsorships that can be framed as the commodification of Pride, are necessary to achieve the scale to which audiences have become accustomed. The center was asked a few years ago to show these Pride videos that have been created by Budweiser. There was some financial incentive attached to sharing these videos on social media. I wonder, though, if you could talk about some of the women making work in this moment? And how that work fit into these larger conversations around AIDS? I think the work Holly Hughes was making in this period is so important because she uses her performance practice to speak back to power.

She was attacked by so many different kinds of people for making work, and they made all these assumptions about the content of her work, without actually seeing it. People decided it was dangerous simply because she was a lesbian. Gay white men are the most visible in those kinds of conversations. In relationship to censorship? Certainly censorship and these types of aesthetic assaults that were actually not-so-thinly veiled identity-based assaults were common.


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  4. I got to see everything before it was censored or restricted. Yeah, very much so: her white, lesbian body as kind of proxy for these questions over censorship. A lot of lesbians were providing care labor in this moment, nursing men living with HIV.