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Diana Taylor provides a new understanding of the vital role of performance in the Americas. From plays to official events to grassroots protests, performance, she argues, must be taken seriously as a means of storing and transmitting knowledge. Taylor reveals how the repertoire of embodied memory--conveyed in gestures, the spoken word, movement, dance, song, and other performances--offers alternative perspectives to those derived from the written archive and is particularly useful to a reconsideration of historical processes of transnational contact. The Archive and the Repertoire invites a remapping of the Americas based on traditions of embodied practice. Examining various genres of performance including demonstrations by the children of the disappeared in Argentina, the Peruvian theatre group Yuyachkani, and televised astrological readings by Univision personality Walter Mercado, Taylor explores how the archive and the repertoire work together to make political claims, transmit traumatic memory, and forge a new sense of cultural identity. Through her consideration of performances such as Coco Fusco and Guillermo Gómez-Peña's show Two Undiscovered Amerindians Visit, Taylor illuminates how scenarios of discovery and conquest haunt the Americas, trapping even those who attempt to dismantle them. Meditating on events like those of September 11, 2001 and media representations of them, she examines both the crucial role of performance in contemporary culture and her own role as witness to and participant in hemispheric dramas.

Sociology of minorities --- Theatrical science --- America --- #VCV monografie 2005 --- #SBIB:39A5 --- #SBIB:39A74 --- #SBIB:316.7C210 --- Kunst, habitat, materiële cultuur en ontspanning --- Etnografie: Amerika --- Cultuursociologie: kunst: algemeen --- Ethnicity --- Memory --- Minorities --- North and south. --- Performance art --- Performing arts --- Postcolonialism and the arts --- Postcolonialism --- Social aspects --- Social conditions. --- Political aspects --- Civilization. --- Ethnic relations. --- Social conditions --- North and south --- Arts, Modern --- Happenings (Art) --- Post-colonialism --- Postcolonial theory --- Political science --- Decolonization --- Arts and postcolonialism --- Arts --- Show business --- South and north --- Acculturation --- Culture conflict --- Retention (Psychology) --- Intellect --- Psychology --- Thought and thinking --- Comprehension --- Executive functions (Neuropsychology) --- Mnemonics --- Perseveration (Psychology) --- Reproduction (Psychology) --- Ethnic identity --- Group identity --- Cultural fusion --- Multiculturalism --- Cultural pluralism --- Ethnic minorities --- Foreign population --- Minority groups --- Persons --- Assimilation (Sociology) --- Discrimination --- Ethnic relations --- Majorities --- Plebiscite --- Race relations --- Segregation --- Americas --- New World --- Western Hemisphere --- Mémoire --- Art de performance --- Arts du spectacle --- Art et histoire --- Société --- Aspect politique --- Mémoire --- Société

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Sociology of literature --- English literature --- Thematology --- Spanish-American literature --- Drama --- Politics and literature --- Spanish American drama --- Politique et littérature --- Théâtre hispano-américain --- History and criticism --- Histoire et critique --- Politique et littérature --- Théâtre hispano-américain --- Spanish American drama - 20th century - History and criticism --- Politics and literature - Latin America --- theatergeschiedenis

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"¡PRESENTE! investigates the many answers to a seemingly simple question: What does it mean to be present? Performance studies scholar Diana Taylor answers that question by offering an expansive explication of presence as both ethical command and performative knowledge production. Taking the histories of state violence, colonialism, and imperialism as her starting point, Taylor situates being ¡Presente! as an embodied and performed practice of standing alongside those harmed by historical and ongoing violence. Noting that Present/e is simultaneously single and plural in English and Spanish, and drawing on Jean Luc Nancy's formulation of being singular plural, Taylor asks how presence is imbricated in questions of subject formation and collectivity. She begins with reframing the racialization of Latin Americans as a coming into presence through colonial conquest-a presence not as subjects but as subjugated objects-and asks what was made absent through this racialized process. For Taylor, the epistemicide of Indigenous, Native, and African ways of knowing stands at the center of this process of presence and absence. To counter this ongoing epistemicide, Taylor situates ¡Presente! as a performative and decolonial mode of knowledge production that decenters European Enlightenment traditions and seriously takes up Native, Indigenous, and African ways of knowledge and temporality. Grounded in performance studies, this book links knowledge to action as a doing practice, or what Taylor calls a "peripatetic strategy" that emphasis movement in learning. This book offers an expansive theory of ¡Presente! in various locations and situations: the original colonial conquest of Columbus and the Spanish; the May 1968 student protests; a study in Zapatistan autonomy; the 43 disappeared students of Ayotzinapa; queer histories of Mexico; and the former torture centers of the Pinochet dictatorship. Throughout these varied locations, Taylor weaves a methodology, theory, and practice of ¡Presente!. This book will be of interest to students and scholars of performance studies, Latin American studies, American studies, critical ethnic studies, colonial, decolonial, and postcolonial studies, and queer theory"--

Decolonization --- Decolonization. --- Eurocentrism. --- Hispanic Americans in the performing arts. --- Hispanic Americans --- Knowledge, Theory of. --- Performance art --- Performative (Philosophy) --- Performing arts --- Presence (Philosophy) --- Social epistemology. --- Race identity. --- Political aspects. --- Political aspects --- Latin America. --- United States.

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In Negotiating Performance, major scholars and practitioners of the theatrical arts consider the diversity of Latin American and U. S. Latino performance: indigenous theater, performance art, living installations, carnival, public demonstrations, and gender acts such as transvestism. By redefining performance to include such events as Mayan and AIDS theater, the Mothers of the Plaza de Mayo, and Argentinean drag culture, this energetic volume discusses the dynamics of Latino/a identity politics and the sometimes discordant intersection of gender, sexuality, and nationalisms.The Latin/o America examined here stretches from Patagonia to New York City, bridging the political and geographical divides between U.S. Latinos and Latin Americans. Moving from Nuyorican casitas in the South Bronx, to subversive street performances in Buenos Aires, to border art from San Diego/Tijuana, this volume negotiates the borders that bring Americans together and keep them apart, while at the same time debating the use of the contested term "Latino/a." In the emerging dialogue, contributors reenvision an inclusive "América," a Latin/o America that does not pit nationality against ethnicity—in other words, a shared space, and a home to all Latin/o Americans.Negotiating Performance opens up the field of Latin/o American theater and performance criticism by looking at performance work by Mayans, women, gays, lesbians, and other marginalized groups. In so doing, this volume will interest a wide audience of students and scholars in feminist and gender studies, theater and performance studies, and Latin American and Latino cultural studies.Contributors. Judith Bettelheim, Sue-Ellen Case, Juan Flores, Jean Franco, Donald H. Frischmann, Guillermo Gómez-Peña, Jorge Huerta, Tiffany Ana López, Jacqueline Lazú, María Teresa Marrero, Cherríe Moraga, Kirsten F. Nigro, Patrick O’Connor, Jorge Salessi, Alberto Sandoval, Cynthia Steele, Diana Taylor, Juan Villegas, Marguerite Waller

Theater --- Theater and society --- Hispanic American theater --- History --- Dramatics --- Histrionics --- Professional theater --- Stage --- Theatre --- Performing arts --- Acting --- Actors --- Theater, Hispanic American --- Society and theater --- History. --- Social status --- Social aspects --- Theater - Latin America - History --- Theater and society - Latin America