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List of illustrations | |
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Acknowledgments | |
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Introduction and thanks, Guillermo Gomez-Pena | |
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Pedagogic interventions in the mainstream bizarre, Elaine Pena | |
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Introductory essays and chronicles | |
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Introduction: Elaine Pena | |
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On the other side of the Mexican mirror | |
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In defense of performance | |
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Intro | |
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The cartography of performance | |
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Turning the gaze inward | |
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Performance vis-a-vis theater and the art world | |
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Culturas-in-extremis: Performing against the cultural backdrop of the mainstream bizarre | |
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Confessions | |
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Corporate multiculturalism | |
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Uroboros: The spectacle of the mainstream bizarre | |
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The illusion of talking back | |
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The finisecular freak crosses the southern border | |
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"Extreme sexuality" and other hollow concepts | |
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Altered bodies and wounded bodies | |
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Collectable primitives of ("in" and "at") the Great International Expo | |
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"Alternative" spirituality and "world" tribalism | |
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Performing the Other-as-freak | |
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An open letter to the natinal arts community | |
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Pedagogy: A useful guide to the Pocha method | |
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Introduction: Elaine Pena | |
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Crosscontamination: The performance activism and oppositional art of La Pocha Nostra | |
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La Pocha Nostra: An ever-evolving manifesto | |
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Pocha live: A crosscultural poltergeist | |
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Producing Pocha | |
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Ex-Centris: La Pocha Nostra's international cultural exchange as political praxis | |
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Ten questions we haven't yet found answers for | |
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La Pocha Nostra's basic methodology | |
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Performance as radical pedagogy | |
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Convocatory and preparations for the workshop | |
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The bare minimum | |
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Initial notes to the workshop participants | |
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Performance exercises, rituals, and games | |
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Advanced jamming sessions | |
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Workshop conclusions | |
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Performance radio | |
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Introduction: Elaine Pena | |
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Letter to an unknown thief | |
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HSAC-TV: The Home-Shopping Art Channel | |
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The imaginary effects of a Trans-American Free-Trade Zone | |
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A sad postcard from San Francisco, Chilicon Valley | |
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Postcards from Alaska: A chilling tale of performance artists in the snow | |
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Touring in times of war | |
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On dual citizenship | |
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My evil twin | |
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Saddam in Hollywood | |
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Frida lite or Fat-free dah | |
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Performance literature: For the stage and cyberspace | |
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Introduction: Elaine Pena | |
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Brownout 2 | |
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Introduction: Elaine Katzenberger | |
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Border blessing | |
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The script | |
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Twenty-first-century Chicano newscast | |
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America's most wanted inner demon | |
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El Archeotypal Greaser | |
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El Mad Mex | |
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El Allatola Whatever | |
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A declaration of poetic disobedience from the new border | |
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Helpful performance tips on how to avoid xenophobia and express solidarity with innocent Arab-Americans after 9/11 | |
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The post-9/11 "rights and privileges" of a US citizen | |
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Conversations with theorists | |
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Introduction: Elaine Pena | |
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Theatricalizations of postcolonial theory: A Colombian philosopher interviews a Chicano performance artist | |
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The minefields of Utopia: A diaglogue on the dangers of artistic collaboration | |
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The minefields of Dystopia: The pervasive effects of 9/11 | |
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Loose ends: The fluid borders between author and editor | |
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