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Introduction: Actions of Transfer
Published online by Cambridge University Press: 27 May 2010
Abstract
Our co-authored article provides an introduction to the UCLA-based conference Actions of Transfer: Women's Performance in the Americas (2008), a sister event to the opening of the new cultural and performance space with FOMMA – Fortaleza de la Mujer Maya (Fortress of the Mayan Woman) – supported by the Hemispheric Institute and the Ford Foundation. Introducing the articles and contributions to the performance dossier arising out of the event and brought together for this special issue, we reflect critically on our conference set-up. Detailing our multi-sited project as a dialogic, hemispheric practice, we offer our reflections with the hope that this will lead to new possibilities and paradigms for international performance research and practice.
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References
NOTES
1 See http://www.performancestudies.ucla.edu/actions/actions.html for details and archive.
2 For more on ‘hemispheric’ as a lens and on the Hemispheric Institute as a form of collaborative practice see Taylor, Diana, ‘The Many Lives of Performance: The Hemispheric Institute of Performance and Politics’, in McKenzie, Jon, Roms, Heike and Wee, C. J. W.-L., eds, Contesting Performance: Global Sites of Research (New York and London: Palgrave Macmillan, 2010), pp. 25–36CrossRefGoogle Scholar; and idem, ‘Remapping Genre through Performance: From American to Hemispheric Studies’, PMLA, special issue, Re-Mapping Disciplines, ed. Wai Chee Dimock and Bruce Robbins, 122, 5 (October 2007), pp. 1416–30.
3 Doris Sommer has developed the term ‘cultural agents’ in her edited volume Cultural Agency in the Americas (Durham: Duke University Press, 2005).
4 For more on Grupo Cultural Yuyachkani see ‘Staging Traumatic Memory’ in Taylor's, DianaThe Archive and the Repertoire (Durham: Duke University Press, 2003), pp. 190–211CrossRefGoogle Scholar.
5 Victor Turner, from a Planning Meeting for the World Conference on Ritual and Performance, quoted in the ‘Introduction’ to Richard Schechner and Will Appel's edited volume By Means of Performance (New York: Routledge, 1980), p. 1.