ALEA III, All American, November 1, 1995

This is the concert program of the ALEA III, All American performance on Wednesday, November 1, 1995 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Invention for piano by Carlos Chávez, Kokoro by Roger Reynolds, History of Tango by Astor Piazzola, Quartettino by Rudolf Komorous, Duos Concertante by Juan Orrego-Salas, and Theme and Variations by Amy Marcy Beach. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Novelty and Theater, November 17, 2014

This is the concert program of the Novelty and Theater performance on Monday, November 17, 2014 at 8:00 p.m., at the Boston University Concert Hall, 855 Commonwealth Avenue, Boston, Massachusetts. Works performed were Charleston Capers by George Green, Kvadrat by Vinko Globokar, Speak Softly by David Little, Table Music by Thierry de Mey, Natural Resources, or What to do till the Power comes on by Ann Southam, and Serving Size 4 Bunnies by Carl Schimmel. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

Time's Arrow, Friday, December 8, 2000

This is the concert program of the Time's Arrow performance on Friday, December 8, 2000 at 8:00 p.m., at the Tsai Performance Center, 685 Commonwealth Avenue, Boston, Massachusetts. Works performed were Duo for Oboe and Percussion by Luis Obregon, Dog Day Ragy by Marjorie Merryman, Mango Tango by Richard Cornell, from Six Waltzes in the French Manner by John Goodman, Dark Mango Tango by Richard Cornell, South End Rag by Martin Amlin, in C by Terry Riley, and Laps by Theo Lovendie. Digitization for Boston University Concert Programs was supported by the Boston University Humanities Library Endowed Fund

El Otro Encuentro: Gigi Oltavaro-Hormillosa’s Neo-Queer Precolonial Imagining

This essay examines the performance and video art piece Cosmic Blood, by Gigi Otalvaro-Hormillosa, a queer Colombian and Filipina American artist based in the San Francisco Bay Area. It argues that Cosmic Blood is a performative intervention into dominant modes of reading the racialized and gendered Filipina body, as well as a critique of absolutist notions of national and ethnic belonging. Cosmic Blood challenges the inherent heteronormativity and masculinism of dominant notions of nation and kinship, accomplishing this imaginative intervention by its retroping of the past through a lens of queer desire. Within Otalvaro-Hormillosa’s retelling of the moment of first contact, queer bodily desire is the locus of power relations between colonizer and colonized. In this vision of the past, the figure of the Filipina is presented as a desiring subject, resisting the overdetermined tropes of woman as nation, territory, and land that are both a legacy of colonization, and a persistent narrative within contemporary articulations of national and diasporic belonging. In doing so, Cosmic Blood presents a possibility for forms of belonging that exceed the absolutism of race, ethnicity, and nation, while also imagining a utopian vision of the future that critiques the material conditions of the present

Sensory Screens, Digitized Desires: Dancing Rasa From Bombay Cinema To Reality TV

Bombay cinema incorporated songs, dances, choreography, staging, and costumes from a variety of traditional forms to mark a modern national identity. The pioneering figure for using dance in films was Uday Shankar in his experimental film Kalpana. Bombay’s spectacular song-and-dance cinema then moves through films such as Chandralekha to contemporary Bollywood and its byproducts such as dance reality shows. The search for aesthetic modernity in India is embodied in the concept of “desire” as it evolved from traditional aesthetics to contemporary culture and new media technology; to uncover its evolution from Bombay cinema to reality show, I first analyze the historically transforming cinematography and content through a few select musicals. Secondly, I trace the emergence of the “Item” numbers in Bollywood and their relationship to music videos; and third, I explore the current expressions of screendance on reality shows in India as expressions of class mobility and democratization of cultur

The Irrational Element of Self and Creation in the Time of the Plague

In this paper I discuss how I went beyond commonplace, rational ways of theater-making and relied on certain “extreme”, irrational gestures to create my production of Charles Mee’s Orestes 2.0. I discuss the circumstances that led me to unlock my subjective artistry, the manner in which I tackled and fulfilled my “directorial concept”, and how I created a production that challenged the tyranny of rationality both on the stage and within the culture of the theater department. I relate personal experiences entering school during a time of national suspicion, and I discuss how a more expansive artistic outlook developed in response to my environment. I go through the execution of my directorial concept and show how I “projected a world” from my interior into the theatrical concrete, drawing on the work of master Polish director Tadeusz Kantor. I describe the “rules” of my theatrical world in terms of its diegetic reality, its method of construction, and its aims. I then describe the rehearsal process, highlighting the ways that irrational methods and a focus on body and imagination drove the process. I discuss my creative state of mind, my performance as the character Farley, and the way in which I hoped authority and sense-making functioned in the audience experience of the performance.Throughout, I accompany my ideas with supporting quotations from Mee’s play and the writing of French theorist, poet, and director Antonin Artaud, situating my use of the power of the irrational inside the theatrical tradition and the play-text

Narrative in picture books, or, The paper that should have had slides

In this sense picture books resemble other combinative art forms, such as opera or musical theater, films, and ballet; older examples include the courtly masque and the emblem book. This resemblance is good for me, since I thrive on analogies (I was apparently permanently warped by that section of the SATs), and I therefore often find it useful to consider picture books along with those other media, without, of course, ignoring the fact that picture books also have their own individual charms and characteristics. I'd like to examine the aspects of the picture book the text, the art and other physical factors and then discuss how these narratives work together to affect each other and the final outcome.published or submitted for publicatio