“La Pocha…we are a group of borderless performance artists.”
– Guillermo Gómez-Peña
The core members of La Pocha Nostra—Guillermo Gómez-Peña, Michèle Ceballos Michot, Roberto Sifuentes, Erica Mott, Saul García López, Dani d’Emilia, and Daniel Brittany Chávez—will come together for a one week intensive jam to produce a new work-in-progress.
This world premier marks the first time these seven artists have worked together in equality, or, to use the troupe’s language, the first time these Pochas have gathered to form La Pocha Nostra in one place. This is an experiment in “radical tenderness, clumsy democracy, and horizontal leadership,” Gómez-Peña says.
Founded in 1993 in Los Angeles to formalize Gomez-Peña’s collaborations with other performance artists, La Pocha Nostra is an ever-growing cross-disciplinary arts organization, series of collaborations, and nonprofit, with branches in Central and South America, Europe, Asia, and the South Pacific. Headquartered in San Francisco, with troupe members living in San Francisco, Chicago, Phoenix, Toronto, Canada, Chiapas, México, and Barcelona, Spain, the troupe provides a matrix and a forum for artists of various disciplines, generations, and ethnic backgrounds.
Apart from the core members gathering for this residency, La Pocha has 30+ associates worldwide. Their projects range from performance solos and duets to large scale multi-sensory performance installations involving photo, video, sound and projection.
If there is a common denominator, it is their desire to cross and erase dangerous borders between art and politics, art practice and theory, artist and spectator—ultimately to dissolve borders and myths of purity whether they be specific to culture, ethnicity, gender or language.
For more information regarding the performance call (919) 843-7067 or email Joseph Megel
For high resolution photos, further information about this and other La Pocha Nostra projects, email Daniel Brittany Chávez
In partnership with the Department of Communications Studies, this residency was made possible by (at UNC-Chapel Hill): The Process Series, the Teatro Latina/o Series, the UNC Program in Latina/o Studies, the Provost Committee for LGBTQ Affairs and (in the community): Vimala’s Curryblossom Cafe, the Elsewhere Museum, Duke University Art, Art History, & Visual Studies
Feminist Erasures presents a collection of original essays that examines the state of feminism in North America and Western Europe.
It focuses on a range of cultural and political contexts to interrogate the apathy toward, erasure of, and interventions in feminist discourse and analysis from popular and political culture. In providing a scholarly critique of feminism’s erasure from various social and political contexts, including news media, popular culture, labor, motherhood, and feminist activism, this collection makes visible the systematic marginalization of women and women’s rights in contemporary culture. (from the back cover synopsis)
In November 2014, Professor Sarah Sharma took part in a panel at the MyCreativity Sweatshop in Amsterdam, at the Institute of Network Cultures; the panel was called “My Creativity, Your Depression”, and addressed Serendipity & Creativity (details and synopsis below).
A write-up of the talk has since been published and can be found here.
MyCreativity Sweatshop: A reality check on the creative industries
Talks, Discussions, Art, Workshops, Performances
20-21 November 2014, @TrouwAmsterdam
Wibautstraat 127, 1091 GL Amsterdam, the Netherlands.
Value creation in the networked economy is increasingly characterized by flexible and ephemeral relationships. We often imagine creative workers and entrepreneurs as cheerful explorers, engaged in the day-to-day fun of building new networks and having unexpected encounters leading to a ceaseless stream of discoveries and inventions. Work is serendipitous play with financial success coming to everyone who knows to combine flexibility and ‘passion’. Yet, what are the real costs – psychologically, culturally and economically – of a serendipitous mode of production that is predicated on the aleatory and ephemeral. Why is it that so much that is presented to us as innovative and creative smacks of vacuous repetition and mere simulation of novelty? This panel tries to look behind the imaginary of contemporary labor/entrepreneurship as a game of innovation, driven by fancy-free yet passionate creatives. (excerpted from the website’s panel-summaries, found here)
Panelists: Pek van Andel, Sarah Sharma, Mark Fisher
Communication Studies Professor and Director of Undergraduate Studies, Tony Perucci, was interviewed in May 2014 by Andrew Barbero. This interview was published in the January 2015 issue of the journal Peace & Change.
“On May 2, 2014, I (Barbero) conducted a wide-ranging interview with Tony Perucci, who delivered the keynote presentation, “The Complex and the Rupture: Paul Robeson and Cold War Performance Culture,” at the Peace History Society’s 2013 conference. Our conversation went well beyond recapping Perucci’s intriguing analysis of Robeson’s theatrical “performances”, to taking an in-depth look at Robeson as an agent of peace- and justice-making within the “Cold War Performance Complex.” In addition, Perucci describes how political theater interrupts systems of hegemonic power, and he offers reflections from his own experiences as a performer, director, writer, and academic on the transformational potential of strategically rendered activist art and rigorous, engaged scholarship.”
An Honors Thesis Performance will take place in Bingham 203 on January 30th (7 p.m.) and January 31st (4 p.m.). Admission is free.
TO STRIKE ROOTS, directed by Comm Studies major Renu Gharpure
Inspired by Jhumpa Lahiri’s short stories about the Indian immigrant, this short performance piece follows the cultural struggle of the children of Indian immigrants in the U.S., as they try to find a place of belonging between two cultures–the one of their ancestors and the one of their country of birth.
Actor, playwright, director: J. Alphonse Nicholson, Howard L. Craft, Joseph Megel, on the set of FREIGHT. Photo: Nick Graetz.
Five Points Star “Nine days into the new year and I have to tell you that the production is likely at the end of the year to be on the short list of year’s best, such is its momentum.”
News & Observer “Even those who’ve witnessed the impressive trajectories of playwright Howard L. Craft and actor J. Alphonse Nicholson over the years will likely be unprepared for their stunning convergence in ‘Freight: The Five Incarnations of Abel Green’.”
Frank Stasio, host of NPR’s The State of Things, talks with playwright Howard L. Craft and performer J. Alphonse Nicholson about the show Freight: The Five Incarnations of Abel Green
Indy Week “Director Joseph Megel has achieved exceptional results in previous outings with this actor and playwright. Here, he unsurprisingly pulls the best out of both, in a show that makes us wonder what the next stop is on our culture’s mystery train.”