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Susana Baca is the foremost singer of Afro-Peruvian music. Her music, on Luaka Bop lable, has promoted an awareness of the many cultural contributions of African-Peruvians. Also to this aim, she and her husband Ricardo Pereira are the founders and co-directors of the Instituto Negrocontinuo in Lima. |
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Marianela Boán graduated from the National School of Dance in 1971 and Hispanic Literature and Language from Havana University in 1981. For 15 years she worked as a dancer and choreographer for the dance company, Contemporary Dance of Cuba, which toured internationally. In 1988, she founded DanzAbierta where she has created a signature style mixing visual arts, theater, singing and music with dance. Her other choreography works have included the Cuban National Ballet, Venezia Balleto, and film works in Cuba, Canada, and Spain. |
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As an actor, playwright and teacher, Anna Deavere Smith has built a remarkably wide-ranging and respected career. Ms. Smith--whose work explores the American character and our multifaceted national identity--has been acclaimed by the media, critics and audences across the country. The MacArthur Foundation awarded Ms. Smith a prestigious fellowship in 1996, saying she "has created a new form of theatre --a blend of theatrical art, social commentary, journalism and intimate reverie." Looking at controversial events from multiple points of view, Ms. Smith's work combines the journalistic technique of interviewing her subjects with the art of interpreting their words through her performance. As playwright and performer, Ms. Smith has, over the past nineteen years, created a body of theatrical works which she calls ON THE ROAD: A Search For American Character. FIRES IN THE MIRROR: Crown Heights, Brooklyn And Other Identities, which explores the 1991 clash between Jews and Blacks in that New York community, was the runner-up for the 1993 Pulitzer Prize, earned her an Obie and numerous other awards, and was broadcast on PBS as part of The American Playhouse series. TWILIGHT: Los Angeles, 1992, which examined the civil unrest following the Rodney King verdict, received critical acclaim on Broadway in Los Angeles. Her most recent play, HOUSE ARREST, explored the mythic role that the presidency has played throughout American history. Ms. Smith has written a book, Talk to Me, based on her observations and impressions of her time in Washington and on the road. The book was published by Random House in October 2000. Ms. Smith founded and directed the Institute on the Arts & Civic Dialogue, a three-year experiment that was held for three summers (1998- 2000), at Harvard University. In the fall of 2000, Ms. Smith was a visiting professor at Yale University Medical School. She interviewed doctors and patients and presented a performance for the medical school entitled Rounding it Out, about the doctor/patient relationship. Ms. Smith is a tenured professor in the Tisch School of the Arts at New York University, with an additional affiliation at the New York University School of Law. |
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Ricardo Dominguez is a co-founder of The Electronic Disturbance Theater (EDT), the group that developed Virtual-Sit In technologies in 1998 in solidarity with the Zapatista communities in Chiapas, Mexico. He is Senior Editor of The Thing (bbs.thing.net). He is a former member of Critical Art Ensemble (1987 to 1994), the originators of the theory of Electronic CivilDisobedience). He recently presented a 12 hour streaming media net.performance with Coco Fusco, entitled ÒDolores from 10h to 22hÓ from Finnish Museum of Contemporary Art, Kiasma, in Helsinki (www.kiasma.fi/ars/dolores), 2002. Ricardo was a Fake_Fakeshop Worker from 1997 to 2000 (www.fakeshop.com), a hybrid performance group, that was one of the first net.art projects presented at the Whitney Biennial 2000. Dominguez has collaborated on a number of international net_art projects. His first digital zapatismo project took place in 1996 - 97, a three month RealVideo/Audio network project: The Zapatista/Port Action at (MIT) with Ron Rocco. His essays have appeared at Ctheory (www.ctheory.org) and in "Corpus Delecti: Performance Art of the Americas," (Routledge, 2000), edited by Coco Fusco. He edited EDT's forthcoming book Hacktivism: network_art_activismÓ, (Autonomedia Press, 2002). |
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Liliana Felipe is a composer,
singer, pianist, tango player, gardener and poet. She is from Cordoba,
Argentina and a descendant of Comechingones. Liliana Felipe's music is
eminently cinematographic and theatrical. Her songs have a quality of
being both irreverent and profound. In 1990, along with Jesusa Rodriguez,
Felipe opened - without any kind of fellowship - the Teatro Bar El Hábito
and the Teatro de La Capilla, two spaces for independent culture where
self-censorship is prohibited. In 2000, along with Jesusa Rodriguez, she
received an OBIE award by New York's the Village Voice. In 2000, San Francisco's
Teatro Brava was opened to the public with Felipe and Rodriguez's play
Belén. In 2001, she presented her music at La Tratienda at the
PROA Foundation in Buenos Aires, and at the Teatro Real, Cordoba, Argentina. |
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Yuyachkani is a quechua word meaning Ï am thinking", "I am remembering." Yuyachkani has dedicated to theatrical activities since 1971. The most fundamental feature of the group's experience is to claim for a theater of creation which feeds itself from dance, music, traditions, masks, signs and elements of the Peruvian culture. They have produced 25 spectacles which aims at thinking Peru in theatrical terms. At present, Yuyachkani has opened a space called CEXES - Centro de experimentacion escenica (Center for theatrical experimentation). For the past few years, Yuyachkani has traveled throughout Peru, presenting their spectacles, teaching and getting to know the life and customs of the Peruvian villages. Yuyachkani has always been present at events for education and International Theater Festivals in Latin America, U.S., and Europe. Nuestra Casa-Teatro is permanently open to the community aiming at encouraging experimentation and promoting cultural and multidisciplinary artistic expressions. The Nuestra Casa consists of a permanent workshop for research and construction of masks, a library with texts on theater and Peruvian and world cultures, two show rooms, a video library and an area for publications about Yuyachkani's own experiences and other groups alike. With the occupancy of 250 seats, Nuestra Sala Teatral is used for several purposes where they present their works as well as other theater, dance and music groups from Peru, Latin America, Europe and Asia. |
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Las Agencias is not a closed
collective group of artists and political activists. It is a movement
that was originated in Barcelona more than a year ago. People from different
cities and countries - with experiences in intervention art - got together
to share a mutual interest: to investigate the ways of making art where
the most creative and ambiguous trends of political activism feed the
contemporary tactics and artistic techniques. Las Agencias create, grow
and destroy themselves in due time according to the projects they are
involved in. Thus, the Agencia Grafica played an important role in the
campaigns "Dinero Gratis", "BCN2001 - Contra el Banco Mundial,
or "La Bolsa o la Vida." The Agencia de Medios was quite important
in the gestation of IndyMedia in Barcelona. The Agencia de Moda y Complementos
worked on projects such as "Prêt a Revolter" or the "tutte
bianche" Hispanics. The Agencia Fotografica develops an important
work concerning documentation in collaboration with solidarity networks
dealing with migrants in the southern border of Spain. The Agencia Espacial
has developed a series of vehicles from the ShowBus to the Video-Bicis
or the Bicke-writers. The latest developed projects have been "New
Kids on the Black Block"(www.newkidsontheblackblock.com) and Guerra
Mítica (www.guerramitica.com). During the summer of 2002, under
the title of "Ninguna Persona es illegal"(Nobody is illegal)
Las Agencias will develop a project of exhibition and intervention related
to migration and globalization issues in Madrid. |
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Zeca Ligiero received his Doctorate
in Performance Studies from NYU. He is the founder and coordinator of
NEPPA at UNIRIO. He is a theater director, artist, writer and co-founder
of the graduate and the doctorate programs in theater at UNIRIO where
he has taught since 1989. He is the author of the essay "Candomble
is a religio-life-at" published in the book "Divine Inspiration"
by New Mexico University Press. He is also the author of "Iniciação
ao Candomblé"(Initiation to the Candomblé) (1993),
"Umbanda: Paz, liberdade e cura"(Umbanda: Peace, freedom and
healing) (1998) and "Carmen Miranda: An Africa-Brazilian Paradox"(to
be released soon). He is an expert in both Brazilian and Afro-Indigenous
performance studies. |
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Lorie Novak's photographs,
installations, and web projects exploring the relationship between personal
and cultural memory have been in numerous exhibitions including solo exhibitions
at The International Center for Photography, New York; Center for Creative
Photography, Tucson, Arizona; The Museum of Contemporary Art, Chicago;
Breda Fotografica, the Netherlands; and group exhibitions at the Museum
of Modern Art, New York; The Smithsonian Institution, Washington, D.C.;
National Museum of American Art, Washington, DC.; Art Institute of Chicago;
among others. She has been the recipient of several grants including a
National Endowment for the Arts Fellowship and residencies at the MacDowell
Colony, Rockefeller Foundation's Bellagio Center, and Yaddo. She is Chairperson
of the Photography and Imaging Department at New York University Tisch
School of the Arts. She is also co-director of Urban Ensemble through
which Tisch School Of the Arts students engage in community-based arts
projects and Affiliated Faculty at the New York University Center for
Advanced Technology. She resides in Brooklyn, New York. Her work can be
found on-line at http://cvisions.cat.nyu.edu/novak. |
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Morella Petrozzi started her classical ballet training under the direction of Ducelia Woll. In 1984, she left for the U.S. and graduated as a dancer of modern dance at the University of Western Michigan (B.A. in Dance, 1989) and New York's Sarah Lawrence (Master's in Dance, 1991). She received the Women's Studies Diploma of the University of Western Michigan in 1989. Some of her teachers were Clara Gamble, Nina Nelson, Eugene Mills, Marie Adair, Rose Ann Thom and Viola Farber. She received an award from Pontificia Católica del Perú for the essay "La Danza Moderna más alla de los géneros masculino y feminine" (Modern Dance beyond the male and female genders) and published her first novel "56 Dias en la vida de un Frik"(56 days in the life of a freak). In 1997 and 1998, Ms. Petrozzi danced in "Un dia en el paraíso" (One day in Paradise) by Karin Elmore, "Narciso y Eco"(Narcissus and Echo) by Morella Petrozzi and "Matagente"(Killpeople) by Ducelia Woll. In 1999 and 2001, she taught her course "Principios de Danza" (Principles of Dance) at PUCP's School of Science and Arts of Communication. In 2000, Ms. Petrozzi premiered her piece "Fresh 100% Danza" and was invited by the Council on Dance Lima-Perú to teach the seminar "El Arte de Construir Danza" (The art of constructing dance). In 2001, she premiered "Colapso Gótico" (Gothic Colapse). Ms. Petrozzi co-directs (along with Ducelia Woll) the Escuela Independiente and Compañia de Danza Moderna, DANZA VIVA. |
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Jesusa Rodríguez is
an actress and director. She was born in Mexico in 1955. She was awarded
Best Actress for El Concilio de Amor at the Montreal's Festival de Las
Americas in 1989. In 1990, she was awarded with a Guggenheim grant. In
1994-1997, she received an Arts ad Humanities grant from the Rockefeller
Foundation. Along with Liliana Felipe, she renovated the Teatro la Capilla
and founded the cabaret El Habito in which she has acted and directed
more than 320 productions in ten years (1990-2000). In 1996, she directed
a video version of Mozart's opera Cosí Fan Tutte and Da Ponte.
In 1997, she directed a version for the opera Primero Sueño de
Sor Juana Inés de la Cruz (Sister Juana Inés de la Cruz's
first dream). In 1998 and 1999, she acted in "Las Horas de Belén"
in Mexico and New York. In 2000, she presented José Ramón
Enríquez's El Fuego (The Fire). Renato Leduc's Prometeo Sifilítico
(Prometeus stricken with syphilis) and adapted Esquilo's Prometeo Encadenado
(Prometeus in chains). In 2000, along with Liliana Felipe, she was awarded
with an OBIE from New York's The Village Voice. In 2000, Ms. Rodríguez
opened the Teatro Brava, in San Francisco, CA, with her play Belén.
At present, she is working on Shakespeare's Macbeth. |