Reviews and News

The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en la Frontera

Kepaano Richter’s Marqués: a Narco Macbeth has been published in The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en La Frontera, Volume 1 (ACMRS Press, 2023) Drs. Katherine Gillen and Adrianna Santos (both at Texas A&M University-San Antonio) and Dr. Kathryn Vomero Santos (Trinity University-San Antonio) have collaborated on a new book titled, The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en la Frontera, published by ACMRS Press, the publishing arm of the Arizona Medieval and Renaissance Center at Arizona State University. This anthology has collected and made available Shakespeare appropriations set in or engaging with the U.S.-Mexico borderlands, thereby enabling culturally and regionally relevant teaching, performance, and research. “In recent years, we have witnessed a groundswell of Borderlands Shakespeare productions that engage with the unique, hybrid culture of la frontera and that interrogate the complex layers of colonialism shaping both the region and Shakespeare’s reception in it. “ – Dr Kathrine GillenBibliography Link: https://t.co/wpWdkk0h8Z

Thank you @gemmaallred, @Ben_Broadribb, and @_erinsullivan for including MOORE – a Pacific Island Othello in, Lockdown Shakespeare: New Evolutions in Performance and Adaptation. It will be an Arden Shakespeare like no other. Mahalo nui to all who fought to ensure “that the powerful play goes on,” and to those who chose to write about it.

Shakespeare and Latinidad, “Staging Shakespeare for Latinx Identity and Mexican Subjectivity: Marqués: A Narco Macbeth” by Dr. Carla Della Gatta, Edinburgh University Press 2021. Click on image or here for link to article.

 

Shakespeare, Volume 17, Issue 1, Routledge (2021)
Shakespeare, Race and Nation, guest-edited by Farah Karim-Cooper and Eoin Price. “Review of Stephen Richter and Mónica Andrade’s Marqués: A Narco Macbeth. University of California, Santa Cruz,” by Dr. Kathryn Vomero Santos (Trinity University). Click on image or here for link to article (or view on Google Drive)

The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en la Frontera

Drs. Katherine Gillen and Adrianna Santos (both at Texas A&M University-San Antonio) and Dr. Kathryn Vomero Santos (Trinity University-San Antonio) are collaborating on a new book titled, The Bard in the Borderlands: An Anthology of Shakespeare Appropriations en la Frontera, which will be published by ACMRS Press, the publishing arm of the Arizona Medieval and Renaissance Center at Arizona State University. This anthology will collect and make available Shakespeare appropriations set in or engaging with the U.S.-Mexico borderlands, thereby enabling culturally and regionally relevant teaching, performance, and research.

“In recent years, we have witnessed a groundswell of Borderlands Shakespeare productions that engage with the unique, hybrid culture of la frontera and that interrogate the complex layers of colonialism shaping both the region and Shakespeare’s reception in it. “ – Dr Kathrine Gillen

Bibliography Link: https://t.co/wpWdkk0h8Z

Moving Islands: Contemporary Performance and the Global Pacific – MOORE – a Pacific Island Othello. Mahalo nui loa, Dr. Diana Looser for including MOORE in your wonderful book on contemporary performance from Oceania.

Seeing Shakespeare: Narco Narratives and Neocolonial Appropriations of Macbeth in the U.S.Mexico Borderlands: Marqués – a Narco Macbeth. Literature Compass. Full Article

MIT Global Shakespeare Project: MOORE – a Pacific Island Othello, Livestream World Premiere. MOORE – a Pacific Island Othello has been inducted into the MIT Global Shakespeare Project. Click here or on the image below for a link to the performance webpage.

 

Remembering Shakespeare, 1564-1616

April 23, 2016 @ 6:00 pm – 6:45 pm | Music Recital Hall

Remembering Shakespeare, 1564-1616
Readings from the works and about the man

A memorial service, commemorating the 400th anniversary of William Shakespeare’s death in 1616.

Saturday, April 23, 2016
Music Recital Hall, UC Santa Cruz
6:00-6:45 p.m.
Free and open to the public

This event takes place before Experimental Baroque, a concert by Santa Cruz Baroque Festival. Concert info/tickets available at: www.scbaroque.org

Remembering Shakespeare, 1564-1616, is sponsored by Shakespeare Workshop, Institute for Humanities Research, Porter College, and Santa Cruz Baroque Festival.

EVENT PHOTOS:

Ku Kia’i Mauna

DAY 134

Janet Jackson in Oahu in support of Mauna Kea

DAY 57

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From @kahookahi : . .*PLEASE SHARE AND REPOST* @puuhuluhulu MAUNA ALERT! MAUNA ALERT! MAUNA ALERT! URGENT: Calling all Kiaʻi Mauna! After 56 days of peacefully protecting Maunakea and holding off the TMT, we have received information from multiple sources that has given us reason to strongly believe that law enforcement action to clear Puʻuhonua o Puʻuhuluhulu and the Maunakea Access Road for TMT construction is imminent. Law enforcement action may begin as early as predawn Monday morning, and the Saddle Road highway may be closed as early as Sunday night, locking it down and blocking kiaʻi out. TMT will be meeting with State and County officials this Sunday to coordinate their attack on peaceful and nonviolent protectors of Maunakea. We are asking all Kiaʻi Mauna to come to Puʻuhonua o Puʻuhuluhulu before Sunday evening and to be prepared to stay as long as you can. We need as much people as we can get to stand in Kapu Aloha to protect Maunakea from further desecration through the building of the Thirty Meter Telescope. Kiaʻi coming to Maunakea should be prepared to camp out at Puʻuhonua o Puʻuhuluhulu and should bring clothing and supplies suitable for cold weather and harsh conditions. Kiaʻi should also come to the Puʻuhonua with a true commitment to protect Maunakea in Kapu Aloha, peace, nonviolence and respect. Our strong commitment to Kapu Aloha is the foundation of the success of this movement, and our success moving forward relies on it as well. To all of our Kiaʻi Mauna, now is the time. Maunakea needs you. See you on the Mauna! *PLEASE SHARE AND REPOST* #KūKiaʻiMauna

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To see our Kapuna dancing and singing with Damian Marley was such a beautiful experience. Mahalo Damian!

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#LATEST (July 28 at 10 PM): Performing in front of a crowd of nearly 2,000 people — @DamianMarley pledged his support for #TMT opponents who have been protesting the construction of the #ThirtyMeterTelescope on #Maunakea for the last two weeks. ⁣ ⁣ Damian “Jr. Gong” Marley, the son of late Reggae artist Bob Marley, participated in traditional Native Hawaiian protocol before telling the TMT opponents that he understood their struggle — sharing that a similar fight had taken place recently in Jamaica. ⁣ ⁣ He sang several hits — including his father’s “Get Up, Stand Up”, which he dedicated to the TMT opponents, who call themselves kia’i (guardians) who are standing in protection of Maunakea as as sacred Native Hawaiian place. They say their Thirty Meter Telescope protest isn’t anti-science or anti-eduction, but anti-desecration. ⁣ ⁣ Marley is the latest celebrity to lend his support to a growing TMT opposition movement. Earlier this week, Dwayne @TheRock Johnson also visited Maunakea and toured Pu’uhonua o Pu’uhuluhulu — the place of refuge established for TMT opponents who are trying to prevent Thirty Meter Telescope construction crews from making it to their site near the summit. ⁣ ⁣ TMT supporters believe the project will be a great technological advancement that can facilitate unprecedented research and discovery. TMT officials say the $2 billion dollar, 18-story telescope is expected to employ approximately 300 construction workers over the decade it will take to finish building it.⁣ ⁣ After years of legal challenges, the state Supreme Court ruled in favor of the contested $2 billion, 18-story telescope project in October 2018, and the state Attorney General and Governor David Ige have affirmed the private multinational corporation has the legal right to proceed with construction. The state has pledged to provide National Guard troops, DOCARE officers, and Public Safety sheriff support to ensure construction crews can move their equipment to the TMT site safely. ⁣ ⁣ More details as they develop on @HawaiiNewsNow #HINews #HawaiiNews #HNN #HawaiiNewsNow

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DAY 13

PETITION:

https://www.change.org/p/gordon-and-betty-moore-foundation-the-immediate-halt-to-the-construction-of-the-tmt-on-mauna-kea

GOVERNOR’S POLL:

https://docs.google.com/forms/d/e/1FAIpQLSd0IM0Dm_e0ywkAy_aEhVLVQ2tJaOA-NBGRiOoKfbUQ8SXc0Q/viewform

DAY 12

The Rock’s Post:

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Hard to express how strong the mana and how heavy the heart was when I walked this sacred land with these people – our people. This issue is much greater than a thirty meter telescope to be constructed on the Mauna. It’s humanity and compassion. Its respect for culture and approaching this with deep care and sensitivity. I’ll always be strong advocate for the advancement of science and technology, but never at the sacrifice of human beings who’s hearts are hurting thru mismanagement and breach of trust. I believe in forward progress, but only when it comes thru humanity. I don’t believe in leaving people behind, I believe in bringing people with us. The best of leaders find a way to make progress thru humanity and will always lead with empathy. I’m hopeful that leader will emerge to take care of the thing that matters most in this situation – the people. I appreciate the views shared with me from reps on both sides of this issue. It’s always healthy and critical to have open heart to heart dialogue. In the end, I stand with the people. #ProgressThruHumanity #LeadWithEmpathy #MaunaKea

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Jamaica Osorio’s beautiful poem:

Tell me how to fill this quiet ⠀
This waiting ⠀
This time expanding ⠀

Seconds, turned minutes, turned hours ⠀

How strange this discipline ⠀
That has us anxiously waiting for the violence ⠀
Coming for our bodies ⠀
Has us counting the days ⠀
Since the last assault ⠀
Has us hoping ⠀
Today is the day we will stand again ⠀

How compelling this aloha⠀
For a mauna ⠀
That was so shortly ago ⠀
A stranger ⠀
So recently unfamiliar ⠀
And now ⠀
With each waking I trace her spine⠀ into my morning horizon like a lover ⠀

And because of her ⠀
I wonder ⠀
What kind of loneliness will arrive in my departure⠀
What of me is being so firmly planted here that will have to be left behind ⠀
That will no longer be mine to keep ⠀
How much of this fullness and knowing ⠀
Will turn to cavern ⠀
Will turn to question ⠀
Will turn me inside out ⠀
Longing for this pilina again ⠀

What violence waits for me ⠀
Caught in the noise of civilization ⠀
Praying for when I can come back ⠀
To her ⠀
This place ⠀
And all the aloha ⠀
I never knew I needed ⠀
But now can’t seem to live without ⠀

DAY 11

DAY 10

Papakū Papahulihonua: Ku'ulei Kanahele

Puʻuhuluhulu University

Posted by Pu'uhonua o Pu'uhuluhulu Maunakea on Wednesday, July 24, 2019

Ilima-Lei Macfarlane arrives on Mauna Kea

Tonga Arrives on Mauna Kea

Surprise visit by Dwayne Johnson

 

Ku Kia’i Mauna!

Ilima-Lei Macfarlane says, “the gloves are off.”

DAY 9

Governor David Ige visits the Puʻuhonu o Puʻuhuluhulu at the base of Maunakea and the frontline closes out the day.

Posted by Pu'uhonua o Pu'uhuluhulu Maunakea on Tuesday, July 23, 2019

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In looking to our future as a Lāhui, it is important that we understand our past and where we came from. Paʻa Ke Aupuni is a unique 60-minute hand-drawn, animated film that explains how the Hawaiian Kingdom came to be, how it evolved to stand firmly on the international world stage of sovereign nations, and how the United States came to claim Hawai‘i. Created in response to community calls for educational resources, Paʻa Ke Aupuni shares a clear, factual rendition of the political history of the Hawaiian Kingdom from the time of Kamehameha to the close of the monarchy. It lays bare the realities of our history and puts forth a set of facts we all need to know. To learn more about Paʻa Ke Aupuni, visit www.kamakakoi.com/paa #moomeheu #PaaKeAupuni #AlohaAina

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DAY 8

"Hawai‘i Pōno‘i: This is how we rise." by Jamaica Heolimeleikalani Osorio from the top of Pu‘u Huluhulu.Produced by…

Posted by ʻŌiwi TV on Sunday, July 21, 2019

 

Lt. Governor Josh Green visits Puʻuhonua o Puʻuhuluhulu. July 22, 2019

Mahalo to Lt. Governor Josh Green for doing the right thing and coming up to the mauna, listening to our kūpuna, and seeing for himself the beauty and power of our movement.

Posted by Pu'uhonua o Pu'uhuluhulu Maunakea on Monday, July 22, 2019

Day 7

We came together at the Puʻuhonua o Puʻuhuluhulu and the Mauna Kea Access Road firmly united in our goal of protecting Mauna Kea. 

We gathered in Kapu Aloha–an embodiment of our fierce love for our akua and ʻāina, compassion for one another, and our commitment to peaceful, non-violent resistance.

In Kapu Aloha, we have been mindful that appropriate behavior at the Puʻuhonua o Puʻuhuluhulu established by the Royal Order of Kamehameha bars the use of weapons, alcohol, cigarettes, drugs of any kind, and even swearing.

We have engaged in or learned about Hawaiian cultural practices at the Puʻuhonua o Puʻuhuluhulu and the Mauna Kea Access Road, including pule (prayer), oli (chants), mele (songs), hula (dances), pāpāʻōlelo (conversation), and haʻi ʻōlelo (oratory)–connecting us more strongly to Mauna Kea and one another.    

We have seen a core team of cohesive, collaborative leaders–including a highly respected kūpuna council–collectively inspiring, guiding, and organizing those gathered. And we have followed their direction.

These leaders, along with many others who have shouldered various kuleana (roles and responsibilities), have effectively addressed challenges as they arise, such as the need for more lua and supplies, processes to greet newly arriving participants, and ways to have everyone safely crossing the roadway.

We have marveled at the generosity of one another and the larger community who have donated food, supplies and equipment, and their most valuable time in support of Mauna Kea.

We have seen everyone at the Puʻuhonua o Puʻuhuluhulu respond peacefully, calmly, and in a coordinated manner to the moment-to-moment threats of all of us being forcibly removed from the Puʻuhonua o Puʻuhuluhulu and the Mauna Kea Access Road.

We invite all others who would join with us to defend Mauna Kea in Kapu Aloha to come to Puʻuhonua o Puʻuhuluhulu and add your name to our participants’ registry.

Information Station for New Arrivals to the Puʻuhonua o Puʻuhuluhulu:

Semper Aloha!

11:00 am – Ku’ulei Perreira-Keawekane‘s “Songs for Mauna Kea” class in Ōlelo Hawai’i

Message for TMT and the University of California:

DAY 6

Standing Rock Sioux stand with the KIAʻI OF MAUNA KEA

Hawai’i Island Mayor Harry Kim’s visit to Mauna Kea:

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#Maunakea #LATEST (July 20 at 9 PM): After touring the #ThirtyMeterTelescope protest front line and Puʻuhonua o Puʻu Huluhulu — a designated area of refuge for #TMT opponents — Hawai’i Island Mayor Harry Kim returned to #Maunakea a second time Saturday to address the massive crowd and then spoke with @HawaiiNewsNow. An estimated 2,000 #TMT opponents — who call themselves kia’i (guardians) who are standing in protection of Maunakea as a sacred Native Hawaiian place — gathered on the mountain today. ⁣ ⁣ Kim said it wasn’t his place to urge Governor David Ige to visit the area or issue an apology for what he had to say about unlawful, unsafe conditions on Maunakea. ⁣ ⁣ The mayor reiterated again how safe he felt at Pu’uhonua o Pu’u Huluhulu — explaining that he felt so safe here, he would leave his 9-year-old granddaughter alone there. “Even with this high stress situation I feel about as comfortable and as relaxed as your can be,” Kim said. “I’ll say it again and I’ll say it for decades. I know of no other culture with such warmth and beauty.”⁣ ⁣ “If I had this kind of organization for all my county government workers l’d be in top shape,” Kim said with a chuckle, describing how well-organized #PuuhonuaOPuuHuluhulu was. ⁣ ⁣ He asked the media’s help to dispel rumors that National Guard soldiers would be coming to the summit on Monday. “There’s no information of any kind that the National Guard will be coming in here. The last information from the Governor was downsizing everything so we can begin to step back a bit and go forward.” But when asked if that meant all law enforcement, he said he only meant the National Guard and that law enforcement has a responsibility to keep everyone safe. ⁣ ⁣ Kim would not say whether he felt the situation on the mountain was an emergency, but did say that such proclamations allow officials the authority to access additional resources if needed. “Let’s not misread when he declares an emergency,” Kim said. ⁣ ⁣ Mayor Kim’s visit was stark contrast from #Hawaii Governor David Ige, who was on Hawai’i Island yesterday but did not come to witness first-hand the situation he declared an emergency last week. ⁣

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U.S. Rep. & Presidential Candidate,Tulsi Gabbard’s message for the governor to withdraw his emergency proclamation for Mauna Kea and put construction of the Thirty Meter Telescope on hold:

3 THINGS TO DO AFTER YOU TAKE A SELFIE WITH THE GIANT HAE AND SHOUT KŪ KIAʻ

 

 

Moore (a Pacific Island Othello)

Moore is a retelling of Shakespeare’s Othello, set in the Pacific Islands, at the intersection of Race, Language, and American Empire. Directed by Justina Taft Mattos, UH Hilo Fall 2020.

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MOORE Soundtrack:

Character sketches:

Moore & Sea Bass

Lt. Johanson (Iago) & Capt. Martinez (Cassio)

Desdemona @ the Blackened Catfish

Click Photo below for Reading Photo Album:

 

Tacos

(Memoir) Reclusorio Norte – Ciudad de México

 

  

It was a beautiful morning. The haze hadn’t risen to the northernmost part of Mexico City yet plus everything was wet, like sand before the corridas. The grounds of Reclusorio Norte had been hosed down before dawn then scrubbed with brooms and Fabuloso. You could smell it in the morning air, even from the second-floor tier of dormitorio cuatro. They called it the United Nations building.

I stood in my bathrobe, in the passageway outside the open door of my celda. I suppose one could call it a cell. It had bars and a door that locked. But the bars had been long since covered with sheetrock. Carpenters had framed in a kitchen counter, cabinets, and a private baño. There was a refrigerator, a large screen TV, a DVD player, and two bunks made of concrete with Sealy Posturepedic mattresses.

Columbus, the Nigerian, and the new french guy from the Ivory Coast were already playing tennis on the courts downstairs. I looked over at the gates to see who was in the caseta (guard shack). It was Telles. He’s the custodio responsible for keeping out the riffraff. The U.N. building housed very important criminals, like the heads of the Mexican narco cartels, as well as those who had the money and inclination to pay for that type of lifestyle.

The rent on my cell was 10,000 pesos a month (about a thousand U.S.) paid out nightly to the custodios. Not an easy feat to make that kind of rent while you’re in prison. But they gave me ten years, so I had to think a little more long-term. My lawyer was having dinner with an important judge though. They all tell you that. So let’s just say I wasn’t holding my breath anymore. I was trying to survive and to create a somewhat safe space to write, and most importantly, a space to lay low.

That was the problem.

Since I moved my fellow marine, Eddie, into my cell and brought him to the U.N., the entire balance of power in the prison had shifted in the most dangerous ways. Don Servando was the head of the Familia Michoacana cartel. He was one of my benefactors and my neighbor three doors down. When I was in a pinch, he helped me open a restaurant, instead of letting me get deeper into trouble just so I could cover the high rent at the U.N.

“Everyone has to eat,” he’d told me.

I watched Carlitos give Telles twenty pesos at the gate. He entered the courtyard unmolested. Carlos was twenty-three. He’d been in the reclusorio since he was sixteen. He used to have a place in the U.N. until some cop who killed a journalist paid to have Carlos moved to another building, to a 15 men per room kind of building. That sort of thing happens every day. Carlos owned half of our restaurant “Hungry Jose’s.” Today we were closed. He was coming over early so we could watch the world cup at my place on the big screen. I’d stepped outside to meet him because Eddie and six or seven of Don Servando’s henchmen were still passed out all over the floor from the party last night.

Don Servando forbids his men to use dope. But since Eddie showed up and started throwing so much money around, all of Servando’s main soldiers had lost all their discipline. Most of them were former cops and hitmen. Now they were becoming fat, lazy, crackheads. And Don Servando blamed me for their corruption since I was the one who had brought Eddie to the U.N. What’s worse, they lied to him and said they weren’t partying with Eddie. He knew they were all crashed out on my floor. He’d already peeked in on them before the sun came up. The suspense was nauseating. It was really affecting my writing.

“Don Servando, buenos dias!” I said, trying to at least make everyone aware that he was approaching.

He gave me a hard glance in passing. He was pissed. He was getting his own coffee this morning. Plus I’d closed Hungry Jose’s for the game so he’d have to venture even further. As soon as he passed, I woke everybody up. They vanished before he returned. I was so stressed out I forgot to tell Charlie about the tacos when he met me at the top of the stairs. Some kid had stopped by the gate in a panic last night and asked me to tell Charlie to give him his tacos. Whatever that meant.

A half-hour later all was forgotten and Charlie and I were watching the world cup.

The kid from last night walked through my front door. He had a busted lip and two black eyes. All of his hair and eyebrows had been crudely shaved off. He marched over to the corner of the room, picked up a pair of soccer cleats and split Charlie’s head open with them.  They went at it, rolling all over the floor. I tried to break them apart. We all kind of fell out of the cell into the hallway. A crowd gathered. I pulled the guy off Charlie. Running and bleeding, Charlie escaped down the stairs. The kid was, after all, affiliated with the cartel. Then everyone looked at me. I let the kid go and walked back to my cell.

The crowd shouted all kinds of threats. The gathering of vigilantes grew in number outside my door. No one entered the room though. They knew about the marine thing. They’d seen Eddie and I in action before. No one wanted to charge in first.

“Lynch him!”
“Kill that son-of-his-whore mother!”
“Show him what happens to those who pass the dick in México!”

They pumped each other up outside my door, gathering their resolve to cross that point of no return.  I sat on the edge of my bunk. People died every day in the reclusorios of México, yet to kill a gavacho… or was I a Mexican? It seemed like no one in the corridor desired to be the first to attack.

Máguila grinned with a mouthful of metal and missing teeth. He stood in the doorway and drew Excalibur from his pantsʼ leg. It was a makeshift sword he always carried. He used to brag about how he’d killed people with just one good stab. Last new year’s eve we talked about Musashi and bushido. I’d thought we’d become at least a little closer than this bullshit. He swung the crude blade above the heads of the vigilantes. Bloodstains peppered the duct tape wrapped around its handle. The lynch mob cheered.

“Thatʼs the way, Máguila, show him!”

“Who has more dick than that, cabrones?!”

I rose from the edge of my bunk. I tried to maintain control over my heart rate and breathing. I held a steak knife in one hand a pencil in the other. I crouched into a fighting stance.

“Weʼre going to kill you, cabrón!” said someone in the crowd.

“I know,” I said, “but I will at least kill the first two or three of you before I’m dead. I swear to fucking god!”

Eyes in the crowd searched for reassurance. No one stepped inside the cell. I remembered then that tacos can also mean soccer cleats. Tacos – a small word with more than one meaning. Charlie had borrowed them from the kid, the kid had borrowed them from someone else, and now I was about to die for them. It’s always the smallest things that end up killing you in this world. I didn’t want to die over tacos but I had no choice now.

“Come on! Who wants to die with me?!” I said.

Nothing.

“¡Me vale verga, hijo de tu puta madre! I don’t give a fuck, sons of your whore mothers! Give it to me!” I said. The steak knife trembled in my hand.

Máguila stepped in front of my open doorway. He smiled.

“A poco si, cabrón?” I said, “Like that, brother?”

Máguila nodded. He entered my cell.

World Beats and Deep Roots

 Paris 1909

“So let them come, the gay incendiaries with charred fingers! Here they are! Here they are!… Come on! set fire to the library shelves! Turn aside the canals to flood the museums!… Oh, the joy of seeing the glorious old canvases bobbing adrift on those waters, discolored and shredded!… Take up your pickaxes, your axes and hammers and wreck, wreck the venerable cities, pitilessly!”

Filippo Tommaso Marinetti

 

Paris 29 May 1913 in Paris

Opening Night Stravinski’s Rite of Spring 

(The Birth of the Modern)

 

 

THE LANGUAGE OF THE STAGE: It is not a question of suppressing the spoken language, but of giving words approximately the importance they have in dreams.  – Antonin Artaud

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“[I]t is the mise en scene that is the theater much more than the written and spoken play. I will be asked no doubt to define what is Latin in this way of seeing opposed to mine. What is Latin is this need to use words to express ideas that are obvious.

In any case, and I hasten to say it at once, a theater which subordinates the mise en scene and production, i.e., everything in itself that is specifically theatrical, to the text, is a theater of idiots, madmen, inverts, grammarians, grocers, antipoets and positivists, i.e., Occidentals.”

In the Company of Antonin Artaud

Signals Through The Flames

is a documentary film on the work of Julian Beck and Judith Malina as the founders of The Living Theatre performance company. The title of the film is taken from the work of Antonin Artaud in his book on theatre theory called “The Theatre And Its Double”.

It was produced by Mystic Fire Video as a project of the now defunct Mystic Fire Video bookstore in New York City. It was directed and edited by Sheldon Rochlin.

Signals Through The Flames contains first person interviews with Beck and Malina, archival footage of performances and street actions from various news reporting sources of the theater’s political life in the late 1960’s. Particular
attention is given to Paris in 1968 in a performance called “Paradise Now” and the occupation of the Odeon Theatre. Excerpts from the Company’s filmed productions of original work “The Brig” and “The Connection” are also part of
the documentary.

Signals Through The Flames is the story of political action expressed through experimental theater and is for those archival purposes of theater history and lessons from the movement.

An entry for the film was made to The International Movie Database (IMDb).
citationhttp://www.imdb.com/title/tt0235764/?ref_=fn_tt_tt_1

Julian Beck died in 1985 of stomach cancer. Judith Melina continued to work as a director of The Living Theater in New York City until her death in 2015 at the age of 89.

Riccardo Vaia (Endimione)

This film is a free reinterpretation of Artaud’s writings, and of his vision of the peyote’s rite, during his trip to Mexico in 1936.
‘Ciguri’ is a word where a multiplicity of symbolic and anthropological rotations intersect, eventually dissolving in pure image.
According to William Burroughs’ ‘Ah Pook’, the meaning is always subject to a linguistic scrambling eventually decaying into hallucination: the place where signs become ‘meat’ and ‘vegetable history’. The space described in Artaud’s ‘Voyage to the Land of the Tarahumara’ is a space where geographical coordinates become lines of sight and lines of the body: the ‘mountain of signs’ which dispossesses the standard ontological systems of identification of Western culture.
In this film the peyote’s rite, the ‘primal flower’ according to the Tarahumara’s ancient culture, describes a celebration wherein the ‘virality’ of the image and of the word conspires to formulate what for us is the concept of ‘desert’ of vision. A place where the world reveals its ‘nihil’.
Words and images. Seeing and speaking. Or ‘being seen’ and ‘being spoken’… An apotropaic knot of our postmodern era; and even more a central point of cinema.
What triggers mirages and deeply enthralls, is moreover the disappearance of the image – since it generates a repetition and a difference in giving itself and withdrawing itself, while it disseminates sings, hieroglyphs, doubles, icons and resonances around itself.

Burroughs (in almost every work) wrote about ‘interzones’ when he was commenting Mayan Codes, their images, their glyphs, confiding that they could be the most effective signs systems for tracing a ‘History’ where images, and their referents in the world, could contaminate each other in order to form a sort of real ‘cut-up’. This cut-up would then be able not only to segment language, but also the biology of bodies and of the world itself. Today ethnic cinema (beyond the obvious social values it represents) troubles itself on many levels looking for this boundary, with no result. This because it is still involved in a ‘theatre of cruelty’ dependent upon representation.
On the contrary, in ‘Ciguri’ it is Artaud’s idea of ‘post-cruelty’ that is expressed: a circle where the Eleusinian Mysteries are staged by a ‘sect of assassins’. At the same time Burroughs’ Habban-I- Sabbah gets rid of the sacred ‘enjeu’, revealing its intrinsic fiction.
Artaud and Burroughs conspire ultimately for silence, just like the sierra losing its ‘geography’ (the ‘hand-writing’ of the earth, the graphèin as Derrida would have it) in favour of a space still unexplored.
Where the visible ‘Ciguri’ ends, the one of the image and of the living, begins the ‘Ciguri of the Aztec Hades’: the ‘ritual of the dead’ to which belongs the invisible. The only testimony, like ashes under an extinguished fire, are possibly the glyphs, the lines, the tattoos on the foot (the last frame of the film) that throbs upon the chthonic earth. The pounding of bones drumming on the ground: a sound coming from somewhere else and that resonates upon vegetable signs, upon the terror of the primal flowers, of the primal colours appearing in the world and in the visible light.
‘Ciguri’ is a film for explorers.

 

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Worlding the Beats:

Reading and writing with Rob
Wilson – Beat Poet, scholar,
member of an intrepid
generation of writers,
musicians, activists, philosophers
creating art
steeped in sound
y sabor de San Francisco,
smooth suede
coming
out
of North Beach
leather, jackets,
turtleneck-ed Italian
espresso-ism on the grass, man.
rolling in
laughing in love-ins,
lots of lovin’, Haight
was great then,
though getting down
on the grass in
Washington’s square, man,
right there, man,
in front of saints Peter and Paul.
666
Filbert. (sounds ironic)
you know, where they do it
in Latin,
in Italian,
in Cantonese,
in English,
In mass
people prayed for peace
as Jazz
played on
those Flamenco nights,
red, blue, and green
gels on a black pole brighten
the city lights
I grew up
on,
write on,
stayed up all night
for the whole
show,
the gypsies’,
hippies’,
Beatniks’
gitanas’
hearts
beating,
and me, falling deep in
asleep on my dad’s guitar case
in that scene, man
down Green,
between
Stockton and Grant.
“La Bodega” in the back
of Frederick Walter Kuh’s
Old Spaghetti
Factory’s gone.
But the songs,
the sounds
and the beats Bulería
o seguirías
malagueñas y Sevillanas
entre Tangos y Fandangos
todavia,
still hear
still feel
still practice
still play
still mark
su marca
still pace
sus pasos
marca pasos
mark time
and time again
to the Beats’
of North Beach.

¡El Paniquiádo! (panicked)

¡El Paniquiádo!: panicked

The 15th of September, Independence Night, Mexico City: A salesman, a politician, a narco-traficante, his scorned wife, a DJ, a federal agent, a poor little rich girl, a methamphetamine cook, and a sixteen year-old prostitute try to escape a city-gone-mad. There is only one night, one opportunity, and one way out of the land where no good deed goes unpunished.

Click on title for print edition (Amazon) or on icon to read the ebook now:

¡El Paniquiádo!: panicked

¡El Paniquiádo!: panicked

Monuments in Entropy

Project Development:

MONUMENTS AND ENTROPY (WINTER – FALL 2017)

Elliot Anderson & Jim Bierman & Danny Scheie

For an entire year, the DANM Mechatronics Group partnered with the Performative Technologies Group to create a collaborative research cohort to develop interactive art and design projects as part of the “Monuments and Entropy” project.

The work began with Robert Smithson’s A Tour of the Monuments of Passaic, New Jersey as a way of understanding movement, time, place, the monument and entropic conditions. Smithson operates as both camera and guide, where the reader/viewer is led through a landscape of impressions and reflections. The work is both textual and visual, which is the reason we are brought along on a tour. Given the structure and ways of seeing and understanding landscape, the text provides a rich foundation for dramaturgy and the creation of visual imagery. Our proposal was to have the graduate students create a performative “non-trip to a site from a Non-site,” creating space and giving physical shape to the concepts of Robert Smithson’s text, through re-staging / reconstructing a local entropic monument.

The students were encouraged to explore opportunities to address larger socio-political issues like climate change, destruction of landscapes and environments within this framework. They were also asked to reflect on their experience of the “monumental” in their daily lives. This conception of the monumental would include institutions and political conditions and conflicts.

The research group applied a systems based approach for fabricating functional experimental art devices that combined principles of sculpture, kinetics, electronics, motion control, sensors, actuators, motors, and other control devices with Arduino Boards using Max/MSP/Jitter and Processing as the primary programming languages. The fabrication methods included, woodwork, metalwork, moldmaking, and rapid prototyping to build and advance iterations of the mechatronic platform. The conceptual framework of the projects created by the Mechatronic’s group were developed in response to the art and science research topics chosen by the cohort.

The project group met weekly to focus on the design and prototyping of tangible user interfaces in order to create meaningful correlations with user gestures, controller interface, and the output of that controller as it related to the project theme. Interaction design concepts included perceived affordances, translation of physical action into digital information, and user observation. Applicants selected for the project group were required to demonstrate skills in 3D modeling and animation, art, music, gaming, programming, video, engineering, robotics, and design.

The outcome of the project group would be an interactive performative work, incorporating sound, animation and live action. The work could have been a traditional theatrical production or a collection of site-specific smaller works that would constitute a “theater-as-tour.” There were a number of opportunities for local sites to explore, both as content for the work and also as possible venues to perform/enact the work. Entropic sites such as the decommissioned cement plant in Davenport, the fabled “Santa’s Village” in Scotts Valley, or and the abandoned settlement on Año Nuevo Island all have rich histories and complex landscapes, but also are environmentally complex. Año Nuevo Island is a marine sanctuary and the cement plant requires environmental remediation. These sites provided an opportunity for student researchers to work with historians and scientists throughout the one-year project. After careful consideration, the Davenport Cement Plant was selected as the research cohort’s Entropic site of Inquiry.

SPRING 2017

“El Muro” – a Ceremony (Political Pop-up Performance with Projection Mapping)

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“El Muro” –  Projection Mapping Content

2018 Monuments in Entropy Exhibit:

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Prometheus Unplugged: Our hideous progeny (a ceremony) by Stephen Richter

Concept Pitch:

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Prometheus Unplugged Mood Board (Victor-as-Corporation / Factory as the Creature / Prometheus)

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Unload!

From Mexico City to Las Vegas, Nevada, two men make a hypnotic journey into the dark heart of the sports gambling industry. They race against the clock to get the girl, the cash, and get the hell out of Dodge, as the streets of Sin City erupt with blood and mayhem.

For print edition click HERE or on image:

Read eBook NOW:

A short Film based on Stephen Richter’s novel, Unload!

Public Reading from the novel Unload!