Román's explications, particularly of theatrical works, are clear and insightful. Using this varied archive, Puro Arte turns to performance as an object of study and as a way of understanding complex historical processes of racialization in relation to empire and colonialism. Puro Arte is an important study not only for those with interest in theater studies but important for students and scholars of ethnic studies, postcolonial theory, and Asian American history. What was significant, and did in fact attract national press attention, were the demographics of the preservationist ranks. This essay takes up this shadow. At the same time, scholarly publications of and that include Asian American theater and performance began to proliferate: James Moy's Marginal Sights, Josephine Lee's Performing Asian America, Dorinne Kondo's About Face, Yuko Kurahashi's Asian American Culture on Stage, Una Chaudhuri's Staging Place, and Meiling Cheng's In Other Los Angeleses, are among the most notable of such critical studies.
Chapter two locates dance taxi halls as the site for the acting out of white male anxieties about labor displacement by Filipinos in the 1920s and 1930s. Published in the Perverse Modernities series edited by Judith Halberstam and Lisa Lowe and dedicated to Sue-Ellen Case, this book pays homage to numerous trailblazers, both academic and artistic. Puro Arte is an important study not only for those with interest in theater studies but important for students and scholars of ethnic studies, postcolonial theory, and Asian American history. Global Taxi Drivers by TeAda Productions. Winner of the 2012 Outstanding Book Award in Cultural Studies, Association for Asian American Studies Puro Arte explores the emergence of Filipino American theater and performance from the early 20th century to the present.
She posits a 'relational understanding of feminism' that assumes a provisional and conjunctural definition of feminism as a 'polysemic site of contradictory positionalities'. Min Song and Rajini Srikanth. In one decade, we witnessed the publication of groundbreaking anthologies like Between Worlds, edited by Misha Berson, Politics of Life, edited by Velina Hasu Houston, and Unbroken Thread, edited by Roberta Uno. Jones, William Saroyan, and John Leguizamo, to name only a few, goes a long way toward showing us how and why art matters in and through time. We are, after all, bowling alone. Román's tribute to the likes of Chita Rivera who appears on the book's stunning cover, designed by Rebecca Giménez , Bea Arthur, Elaine Stritch, Charles Peirce, Bette Davis, Sarah Siddons, Neil Greenberg, Bill T. At the same time, the interlaced history of peoples of African and Asian descent in the United States itself forms part of a story that stretches from Australia to Tanzania.
She criticises the exclusionary logic by which feminism and queer studies in the academy tends 'anxiously and politely' to send invocations of gender outside of Western spaces back to the realm of area studies. What can being attentive to the processes of national abjection tell us about performances that take place within the nation? David Román's Performance in America invites readers to contemplate the role of the performing arts—theater, standup comedy, dance, cabaret shows, and more—in shaping national politics. Shimakawa's discussion of various works by Asian American theater artists, including Yankee Dawg You Die by Phillip Kan Gotanda, 12-1-A by Wakako Yamauchi, The Year of the Dragon and Chickencoop Chinaman by Frank Chin, Talk-Story by Jeannie Barroga, Tea by Velina Hasu Houston, and Deshima and Chinoiserie by Ping Chong, elucidates her thesis of Asian American abjection. Both the New York Times and Los Angeles Times noted the large numbers of Japanese Americans who joined with black residents in the effort to keep the diner and lanes open, expressing admiration for the many friendships maintained even as the area's once sizeable Japanese American population gave way. The presence of Asian American theater work in such recently emergent multi-genre literature anthologies like Bold Words edited by Rajini Srikanth and Esther Iwanaga also testify to the liveliness of the field. Readers of Ella Shohat's powerful interventions into postcolonial theory inaugurated by her essay 'Zionism from the Standpoint of its Jewish Victims' will be delighted to learn of the publication of Taboo Memories, Diasporic Voices.
Presented at Los Angeles Redcat 2013 , University of Washington Meany Hall for Performing Arts 2014. Archival and theoretical projects on Asian American theater and performance simultaneously developed at the end of the twentieth century. Generally speaking, this thoughtful book argues convincingly for the efficacy of the performing arts in contemporary American culture. Bringing these strands together may well offer a more complete path toward understanding the particularities of each. It stresses the Filipino performing body's location as it conjoins colonial histories of the Philippines with U.
This concatenation of characters to whom Román plays host, to use Joseph Roach's apt metaphor from the book's jacket, is as compelling as it is eclectic. This effort, of course, forms part of a larger story. A shuttered bowling alley, then, offers a unique vista for rethinking larger questions of interethnic community, popular mobilization, cultural production, and urban life, questions that remain critical well beyond the Southern California basin. It stresses the Filipino performing body's location as it conjoins colonial histories of the Philippines with U. A welcome addition to the expanding list of scholarly inquiry into the Asian American stage is Karen Shimakawa's National Abjection: The Asian American Body on Stage. .
Race and sexuality within multicultural, feminist and queer discourse tend to be framed as self-containedly American, 'oblivious to the country's colonial history and global presence'. Delivery takes approximately 7-12 business days. Created, Choreographed, and Written by David Rousseve. Not only is the mythical fourth wall broken down, disciplinary walls are breached. It stresses the Filipino performing body's location as it conjoins colonial histories of the Philippines with U. When the colored curtain is pulled back, what is revealed is the Third World, the Global South, or the diaspora that make up how contemporary history is understood. Expanding what constitutes the stages of performance, Puro Arte is not constrained by physical, national or disciplinary walls.
She has participated in several projects focusing on Asian American theater and performance, including attending the 2007 World Social Forum as a member of a U. Returns Policy: 30-day money back guarantee for return if the item is not as described, is damaged or is faulty. This is a fascinating collection of essays that both reprises important thematic strands in her earlier work and extends the scope of her critical interests. The book's chapters coordinate disparate figures that become a collectivity like the audiences Román describes throughout. It stresses the Filipino performing body's location as it conjoins colonial histories of the Philippines with U. Louis World's Fair, early American plays about the Philippines, Filipino patrons in U. In addition to showcasing the tremendous importance of Japanese immigrants to black conceptualizations of self-determination, the complex interaction between people of African and Asian descent in California shows how binary.
Her work is animated by a deep, heterogeneous cultural memory that allows her to confront the relatively recent colonial and ethno-nationalist violence involved in constituting seamless discursive grids such as East and West, Jew and Arab. Throughout the book, Román's conscious method of mixing texts and contexts reinvigorates discussions that in other times have run the risk of remaining irrelevant. His analyses have the force of the now, and as we read about the performance texts in question, we immediately become audiences. Using this varied archive, Puro Arte turns to pe. Winner of the 2012 Outstanding Book Award in Cultural Studies, Association for Asian American Studies Puro Arte explores the emergence of Filipino American theater and performance from the early 20th century to the present.
Duped by Americans whom they thought were their allies against the Spanish but who turned out to be their colonizers, the Philippines is a country of false starts and multiple potential beginnings. We do not offer a refund if you change your mind. Neighborhood activists, preservationists, and diners rallied, petitioned, and pleaded for a reversal of plans to demolish the Holiday Bowl bowling alley, a low-slung edifice perched astride a decaying commercial strip in the heart of contemporary black Los Angeles. Louis World's Fair, early American plays about the Philippines, Filipino patrons in U. From the Spanish American War to the interconnected radicalism of a militant postwar generation, black and Asian communities played key roles in processes of mutually constructive self-definition across the expanse of the long twentieth century. Román makes a point of conjoining performance studies and American studies, and ethnic studies and sexuality studies, as well as reception theory and cultural studies. It is the book's emphasis on documentary that gives it a certain immediacy.