Ggp Odp


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Ggp Odp

  1. 1. In defense of performance Guillermo G ómez Peña
  2. 3. Flight map <ul><li>Background </li></ul><ul><ul><li>Lo chicano </li></ul></ul><ul><ul><li>Wanderings of a post-mexican </li></ul></ul><ul><li>Overview and key points </li></ul><ul><li>Criticism: questions & things to think of </li></ul><ul><li>Provocation: GGP & E. Tr ías meet on the limes </li></ul>
  3. 5. Background: lo chicano <ul><li>M éxico-U.S.A border phenomenon </li></ul><ul><li>‘ politicized mexican-americans’ </li></ul><ul><li>Chicano movement </li></ul><ul><ul><li>Socialist & nationalist ideology (Aztl án, Mex-US war 1836, 1847-148) </li></ul></ul><ul><ul><ul><li>Treaty of Gudalupe Hidalgo; Plan Espiritual de Aztl án; Plan de Santa Barbara; I am Joaquín </li></ul></ul></ul><ul><ul><li>1960’s civil rights struggle </li></ul></ul><ul><ul><ul><li>Reyes L ópez Tijerina; Luis Valdez </li></ul></ul></ul>
  4. 6. Performing lo chicano <ul><li>an identity predicated on the dynamic interaction between nationalist withdrawal and cultural hybridization </li></ul><ul><ul><li>&quot;performances of lo chicano enact a dialectic between accessibility (openness to the dominant culture) and inaccessibility (the assertion of difference), in which accessibility is shown to be necessary, but inaccessibility is finally insisted upon.” - Daniel Belgrad, ‘Performing lo chicano’ </li></ul></ul>
  5. 7. Background: wanderings of a post-mexican <ul><li>M éxico City (1950?-): neither hippie nor punk </li></ul><ul><li>BA latinamerican literature (UNAM, 1974) </li></ul><ul><ul><li>O. Paz & Revolutionary Nationalism: mestizo </li></ul></ul><ul><li>MA Post-studio Arts (CalArts, 1978-1982) </li></ul><ul><li>La Pocha Nostra (1993- ) </li></ul>
  6. 8. GGP is… <ul><li>Practitioner: </li></ul><ul><ul><li>performance, video, installation, poetry, journalism, photography, cultural theory and radical pedagogy, explores cross-cultural issues, immigration, the politics of language, the politics of the body, 'extreme culture' and new technologies </li></ul></ul><ul><li>Theorist: </li></ul><ul><ul><li>Reverse Anthropology: assume a fictional center, push the dominant culture to the margins, and treat it as exotic and unfamiliar </li></ul></ul>
  7. 9. … and a post-mexican <ul><li>Post-Mexican </li></ul><ul><ul><li>“ Ya estamos en una condición postmexicana en el sentido que ese México bronco, tradicional, revolucionario y nacionalista está muy debilitado, está retrocediendo&quot;. R.Bartra </li></ul></ul><ul><li>Postnationalism </li></ul><ul><ul><li>“ launch a kind of political identity centered on values of democracy and fundamental human rights.” J.Habermas </li></ul></ul><ul><li>Not a mexican, not a chicano </li></ul><ul><ul><li>“ I realize that the space between my remote Mexican past and my Chicano future, is immense and my identity can zig-zag across it freely.” G. G ómez Peña </li></ul></ul>
  8. 11. Overview <ul><li>Chronicle-essay. </li></ul><ul><ul><li>Attempt to convey embodied experience </li></ul></ul><ul><li>Three parts </li></ul><ul><ul><li>Cartography: What’s the field like? </li></ul></ul><ul><ul><li>Introspection: How’s it to be in the field? </li></ul></ul><ul><ul><li>Sense of direction: relation to the world? </li></ul></ul>
  9. 12. Thesis <ul><li>“Performance is a way of being in the space in front of or around an audience; a heightened gaze, a unique sense of purpose in handling thee objects, commitments, and words, and at the same time, it is an ‘ontological’ attitude towards the whole universe.” </li></ul>
  10. 13. Key Ideas <ul><li>The central place of the body </li></ul><ul><ul><li>embodied knowledge </li></ul></ul><ul><li>Bordering as strategy </li></ul><ul><ul><li>risk and multiple identities </li></ul></ul><ul><li>Rules of the game </li></ul><ul><ul><li>Inclusion & justice: opening spaces, irritating questions </li></ul></ul>
  11. 15. Critical Questions <ul><li>1. What is the difference between reusing and recycling? </li></ul><ul><li>2. What is a border? Who draws the line? </li></ul><ul><li>3. Is it possible to open up an 'empty space' or 'de-militarized zone'? (Foucault) </li></ul><ul><li>4. What is the step between issuing 'irritating questions' and developing witnesses (Etchels)? Is the psychic sedimentation enough? </li></ul><ul><li>5. Do performance artists dismantle or legitimize authority by antagonizing it? </li></ul>
  12. 16. More C.Q. <ul><li>6. How can we talk about the underdog without fixing them in a representation or trying to speak for them? </li></ul><ul><li>7. What is the limit? What would be a desirable ethics to deal with risk? </li></ul><ul><li>8. How is the 'embodied theory' 'embroided with language-based knowledge' (Taylor)? </li></ul><ul><li>9. How can we characterize that 'space between acting and being oneself? </li></ul><ul><li>10. Is not there a risk of the seemingly 'anti-burgeois' performance-art of becoming utterly burgeois? </li></ul>
  13. 17. Things to think about… <ul><li>Is there such a thing as a natural body? </li></ul><ul><li>What is tradition? Is it homogeneous? </li></ul><ul><li>Who is 'I'? Where do we find it? </li></ul><ul><li>What could one say of the relationship between 'fictional' and real centers? </li></ul>
  14. 19. Provocation: GGP & E. Tr ías meet on the limes <ul><li>Limes : limit & territory (roman empire) </li></ul><ul><li>Lim ítrofe: the one that is fed by the fruits of the limes </li></ul><ul><li>Ethical stance: in-between ethos </li></ul><ul><ul><li>&quot;That is why man can be considered an inhabitant of the border, not belonging here or there, neither animal nor god, but bordering or with the quality of a centaur. (...) Thus, the limit, found between the nature and the world, constitutes our own condition. A condition always referring to a middle term between two undetermined ends.&quot; R.D.U. </li></ul></ul>
  15. 20. <ul><li>Interested? </li></ul>