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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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