Contesting Performance: Global Sites of Research by Jon McKenzie, Heike Roms, C. J. W.-L. Wee (eds.)

By Jon McKenzie, Heike Roms, C. J. W.-L. Wee (eds.)

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Santiago García, artistic director of Teatro La Candelaria in Bogotá, Colombia, has done the same. Other pivotal figures have furthered thinking about performance theory and practice in their cities and countries throughout Latin America. Some national organizations, such as Mexico’s National Arts Center, have included research and archival dimensions to their purview. The Centro Investigación Teatral Rodolfo Usigli (CITRU) has funded researchers and published excellent studies since it came into being in the 1980s.

True, the website also exhibits the mix-and-match quality of our different designers and media consultants over time, and it was only in 2006 that we decided to overhaul our entire site and move it into a searchable content management system and develop the interface with HIDVL (Hemi’s digital video library). Until recently, all materials were uploaded according to Hemi events – courses, Encuentros, and so on. A user would need to know when an artist had performed to find a video of her work. Our new dynamic website, which was launched in 2009, invites visitors to view by topic, by special collection, or by specific Hemi events.

Moreover, suspicions of imperial imposition attached themselves to the unwelcome loan word. If the word is foreign, some argued, the concept must be too. With time, the intensity of the debates about terminology dissipated, and participants began to appreciate the multi-layered term ‘performance’ that links artistic, social, economic, sexual, managerial, and other imperatives. ‘Performance,’ most now agree, exceeds live art 32 Institutionalizing Performance Studies by referring to acts without explicit aesthetic aspirations, such as rituals, political demonstrations, and gendered, raced, classed, and ‘aged’ performances of the self.

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