Caught Between Expectations: Producing, Performing, and Writing Black/African, Latino, and American Aesthetics

Peer Reviewedhttps://deepblue.lib.umich.edu/bitstream/2027.42/153798/1/Caught-Between-Expectations.pd

Caught Between Expectations: Producing, Performing, and Writing Black-African, Latino, and American Aesthetics

Peer Reviewedhttps://deepblue.lib.umich.edu/bitstream/2027.42/153798/1/Caught-Between-Expectations.pd

Mambo and The Maya

The article describes an incidence of Mambo dancing in Antigua, Guatemala that was not Mambo, not Mayan and not social. In celebration of Corpus Christi, male performers dressed in Disney-style costume characters and executed “Mambo” routines while Merengue music blared from a pick-up truck. The contradictory display of dancing is an example of the global impact of dance and encourages reflection about the complicated meanings communicated by performers who incorporate body-based art into Latin American social and economic paradigms. The author traces the historical and social background of contemporary Maya performance and proposes that this particular display of Mambo dance articulates a local response to transnational, commercial culture.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/110138/1/Mambo and the Maya.pd

Megaship Economies and Transnational Maritime Performance

Maritime performance inherently links to economies of commerce. It’s history and practices reorient theatre within broad frames of transnationalism. While airplanes crisscross skies transporting modern passengers across national boundaries, boats amble across marine waterways linking performance traditions through ports and onboard performance. Maritime performances - theatre, music and dance activities on ships, along shipping routes or within port environments – immerse participants in interactive cultural play. “Megaship Economies and Transnational Maritime Acts” uses the lens of the cruise industry as a microcosmic study of identity formation through maritime performance praxis. Performances at sea enable roleplaying of both passengers, and crewmembers and activate all sectors of the ship. Collectively sea acts pass time, provide a forum for recognition of talent, and allow for cultural exchanges across social boundaries. While land-based scholars may view the shore as the departure point for cultural forays and exchanges, the maritime subject considers the port as a temporary layover point before the next long journey. For maritime performers, notions of voyage and destination invert. Knowledge travels in circles when performers ride ocean currents and old histories resurface within contemporary practices. Mega ships support performance economies where the voyage dominates even as economies of power persist.Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/110137/1/Megaship Economies FINAL.pdfDescription of Megaship Economies FINAL.pdf : Mins Articl

PREDICTING ORGANIC MARKET DEVELOPMENT WITH SPATIAL ANALYSIS OF EXISTING INDUSTRY INFORMATION

We test the likelihood of expansion for six market sectors based on the similarities between counties with and counties without organic markets. Results indicate that sales projections are overstated. Growth imbalance will continue to favor the West and North Central regions over the South and Northeast.Marketing,

Eugenia

This is a play written by Lorae Parry and directed by Anita Gonzalez at the State University of New York in New Paltz in 2012. The play is about a historical person who cross dresses as a man and falls in love with a woman. The zip files contain a range of related documents: Designs (posters, stage plans); Directing Work (blurb, scenes); Dramaturgy (notes, research, events, etc.); Photos; and Reviews. A video is also included as the file and streaming.https://deepblue.lib.umich.edu/bitstream/2027.42/155571/1/Designs.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155571/2/Directing_Work.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155571/3/Dramaturgy.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155571/4/Photos.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155571/5/Reviews.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155571/6/Eugenia.mp4https://deepblue.lib.umich.edu/bitstream/2027.42/155571/8/File_Manifest_Eugenia.pdfDescription of Designs.zip : DesignsDescription of Directing_Work.zip : Directing WorkDescription of Dramaturgy.zip : DramaturgyDescription of Photos.zip : PicturesDescription of Reviews.zip : ReviewsDescription of Eugenia.mp4 : VideoDescription of File_Manifest_Eugenia.pdf : zip files contents lis

Sliver of a Full Moon

In 2015, University of Michigan students, faculty and staff collaborated with the Cultural Department of the Chippewa Sault Ste. Marie Tribe, Lake Superior State University and Bay Mills community members to pilot a project in writing and documenting local histories. The ATE was formed when the artists realized there was a willingness within the community to tell stories this way, and its aim is to continue to develop performance events which speak to social concerns and histories of the Anishinaabe people. The Anishinaabe Theatre Exchange presented Sliver of a Full Moon by Mary Kathryn Nagle in 2015, a play about the passage of the violence against women act. Sliver of a Full Moon is a play by Mary Kathryn Nagle. The play was written in 2013 following the re-authorization of the Violence Against Women Act (VAWA). Mary Kathryn Nagle is an enrolled member of the Cherokee Nation, and has written and produced several plays involving law and Indian affairs. The play is told in a semi-linear way, juxtaposing the stories of real people who suffered under the jurisdiction laws involving Indian reservations in the United States with the efforts of several indigenous men and women to re-authorize the VAWA bill. Most productions of Sliver of a Full Moon are staged readings held at law schools, as a result of Nagle’s inclusion of survivors of domestic violence as characters telling their true stories in the play. The zip files contain recordings, agendas, a cast list, and pictures.https://deepblue.lib.umich.edu/bitstream/2027.42/155581/1/audio.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155581/2/Logistics.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155581/3/Photos.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155581/4/UP_Photos.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155581/5/Sliver_of_a_Full_Moon_Cast.jpghttps://deepblue.lib.umich.edu/bitstream/2027.42/155581/6/sliver_of_a_full_moon_poster.jpghttps://deepblue.lib.umich.edu/bitstream/2027.42/155581/7/sliver_of_a_full_moon_PROGRAM_new.pdfhttps://deepblue.lib.umich.edu/bitstream/2027.42/155581/9/File_Manifest_Sliver-of-a-Full-Moon.pdfDescription of audio.zip : AudioDescription of Logistics.zip : LogisticsDescription of Photos.zip : PhotosDescription of UP_Photos.zip : UP PhotosDescription of Sliver_of_a_Full_Moon_Cast.jpg : Cast photoDescription of sliver_of_a_full_moon_poster.jpg : PosterDescription of sliver_of_a_full_moon_PROGRAM_new.pdf : ProgramDescription of File_Manifest_Sliver-of-a-Full-Moon.pdf : zip files contents lis

Maritime Migrations: Stewards of the African Grove

This essay discusses how maritime migrations contribute to movements of ideas across transnational ethnic communities. It focuses on actors from the African Grove, a New York City-based African American theatre company. Actors in this company worked as stewards on transatlantic packet ships where the architecture of the ship supported intercultural exchanges.Peer Reviewedhttps://deepblue.lib.umich.edu/bitstream/2027.42/152041/1/FINAL published maritime_migrations_stewards_of_the_african_grove.pd

Ybor City

YBOR CITY began with a photograph, an image Anita Gonzalez found on her father’s dresser of three men seated in wicker chairs. This image was her grandfather, Pedro Paulo Gonzalez, an Afro-Cuban cigar roller with his compadres. After researching in archives, and presenting about the Tampa tabaqueros at Williams College and Performance Studies International, Gonzalez wrote the first draft of what would become YBOR CITY at the Rockefeller Foundation residency center in Bellagio, Italy in 2003. This first draft, called Cigar Memories, was presented by Dixon Place as a staged reading in Fall 2003. Book Writer Anita Gonzalez met Composer and Lyricist Dan Furman at a Dramatists Guild “meet and greet” in 2012. Dan and I chose to work together as collaborators because Dan has experience as a union organizer and he has lived and worked in Latin America. His musical style, which combines jazz with BMI musical theatre training, was perfect for the project. We wrote sporadically for three years and developed the story line and several songs. Our brainstorming sessions took place at the Player’s Club in NYC where we would hash through plot lines and character arcs about every three months. In May 2015, the collaborators completed the first draft of the musical book and songs. That August, we began an intensive workshop of the musical which resulted in an equity staged reading at the Strasberg Institute under the direction of Lorca Peress. In 2017, the University of Michigan in Ann Arbor produced a full workshop staging directed by John Seibert and choreographed by Ron De Jesus, which ran from January 27 to 29 in the Arthur Miller Theatre. In January and February 2018, Ybor City workshopped at Punto Space in Manhattan with a non-equity cast over four Monday night presentations. The production was directed by Sara Rademacher. February 2020 was an equity showcase production directed by Vernice Miller (co-director Stefanie Batten-Bland) at the Player’s Club in Manhattan and the Rustick Tavern in Brooklyn. The zip files contain music, scores, scripts, photographs, and videos.https://deepblue.lib.umich.edu/bitstream/2027.42/155582/1/2012_musical.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/2/February_2020_Production_Script.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/3/Musical_Scores.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/4/Photos.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/6/Song_MP3s.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/8/Ybor_Email_postcard_Images.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/9/Original_Play_called_Cigar_Memories_3-13-03.dochttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/11/Make it move a little_clip.movhttps://deepblue.lib.umich.edu/bitstream/2027.42/155582/12/File_Manifest_Ybor-City.pdfDescription of 2012_musical.zip : MusicalDescription of February_2020_Production_Script.zip : February 2020 production scriptDescription of Musical_Scores.zip : Musical scoresDescription of Photos.zip : PhotosDescription of Song_MP3s.zip : SongsDescription of Ybor_Email_postcard_Images.zip : Postcard imagesDescription of Original_Play_called_Cigar_Memories_3-13-03.doc : Original play called Cigar MemoriesDescription of Make it move a little_clip.mov : Make it move a little clipDescription of File_Manifest_Ybor-City.pdf : zip files contents lis

Home of My Ancestors

An opera libretto commissioned by Houston Grand Opera community outreach division in 2017. The commissioned composer was Nkeiru Okoye. The Libretto.zip file contains many files, including a synopsis, drafts, changes, music, photographs, and a character list.June 19th. The present. A large Colonial house that was home to several generations of the Jackson family, in Houston’s historic third ward. It is June 19th. Olivia Brunson, a Chicago-based young physician and rising star in medicine, returns to her childhood home in Houston. Her Grandma Rose, who raised her, has died. Grandma Rose specified that her memorial service would be on June 19th. The date is of special meaning to the family. It is Juneteenth, which in 1865, was the day that enslaved people learned of the Emancipation Proclamation. It is also the day that Olivia’s great-great-great grandfather, Charles Jackson, and four fellow physicians opened the Houston Hospital for Negroes, now called the Bank Street Memorial Hospital.https://deepblue.lib.umich.edu/bitstream/2027.42/155573/1/FINAL_DRAFT_NOVEMBER_2017.docxhttps://deepblue.lib.umich.edu/bitstream/2027.42/155573/3/SIGNED_HGO_Home_of_My_Ancestors.pdfhttps://deepblue.lib.umich.edu/bitstream/2027.42/155573/5/LIBRETTO.ziphttps://deepblue.lib.umich.edu/bitstream/2027.42/155573/6/File_Manifest_Home-of-My-Ancestors.pdfDescription of FINAL_DRAFT_NOVEMBER_2017.docx : Final draftDescription of SIGNED_HGO_Home_of_My_Ancestors.pdf : AgreementDescription of LIBRETTO.zip : Libretto filesDescription of File_Manifest_Home-of-My-Ancestors.pdf : zip files contents lis