Hemispheric New York Events

Hemispheric New York features special programs, such as EMERGENYC (EMERGENYC), lectures, film series, conferences, and performance workshops, some of which are exclusively for members, and some which are open to the public at large. Below are upcoming and recent events.

Critical Tactics Lab | Panel Discussion |“The Creative Resistance in the Age of Trump”

The Creative Resistance 1

Thursday, November 15, 2018
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th floor, Room 503
New York, New York 10003

*Live video broadcast will be available here starting at 6:00 pm (EST).*
RSVP on Facebook

To be politically inactive is to allow tyranny to envelop our country. In this panel discussion, seven members of the all-volunteer media collective The Creative Resistance will discuss the collective's work and its lasting impact on New York City politics. The group, known for their 2017 viral video Lulu Land, makes videos and other content for progressive candidates and was instrumental in the defeat of the corrupt Independent Democratic Conference (IDC), a group of Democratic New York State Senators who handed over control of the Senate to Republicans.

The panel discussion will feature the founders of The Creative Resistance collective, Eric Rockey and Sandi DuBowski; one of the founders of The Yes Men, Jacques Servin; filmmakers Adam Baran and Tracie Holder; producer Liz Manne, and Democratic campaign manager Tarik Coles.


Eric Rockey is a documentary filmmaker and co-founder of The Creative Resistance. He co-wrote and co-directed Lulu Land and other CR videos. He directed the award-winning documentary short Pink Boy, which was featured on POV and Vanity Fair.

Sandi DuBowski is the co-founder of The Creative Resistance, director and producer of Trembling Before G-d, producer of A Jihad for Love, and co-producer of Budrus. He is in post-production on Rabbi, a 15-year film about Rabbi Amichai Lau-Lavie, a 21st century spiritual innovator for our skeptical, secular, digital generation who descends from 39 generations of rabbis and founded Lab/Shul, a part-laboratory, part God-optional, artist-driven synagogue. The film is supported by The Sundance Institute Documentary Film Program. He has worked with over 125 documentaries as the Outreach Director of Good Pitch for seven years which connects the world’s best social justice films with new allies and partners.

Jacques Servin (also known as Andy Bichlbaum) is one of the founders of The Yes Men; from 2010-2016 he ran the Yes Lab (now Creative Tactics Lab) at Hemispheric Institute. He is working on two feature films and one Yes Men project, all related to the current political situation, but his actually useful work has been with the collective Creative Resistance, under the rubric of which he co-directed Lulu Land (filmed at Hemi) and has helped write various other videos.

Adam Baran is an award-winning filmmaker, curator, writer, activist, and event promoter based in Brooklyn. His films and music videos- including the award-winning JACKPOT and DIRTY BOOTS- have screened at many LGBT film festivals around the world and won awards. He is the co-curator of the long-running IFC Center series Queer/Art/Film. He has served as program coordinator for Outfest, the most prominent LGBT film festival in the country, and NewFest, its New York-based counterpart. As an activist, he has co-written, directed, and produced several popular campaign ads for various progressive candidates as part of filmmaker activist group The Creative Resistance.

Tracie Holder is a filmmaker, consultant, producer, and film funding specialist. She is a 2016 Sundance Creative Producers Fellow and leads workshops in the U.S. and abroad, tutors and serves on juries at international pitching and training sessions. She was a longtime consultant to Women Make Movies and served on the board of NY Women in Film & Television. Clients include: Firelight Media, European Documentary Network, Active Voice, DOC NYC, Creative Capital, and Unions Docs, among others.

Liz Manne works at the intersection of media and social changes. With a background in entertainment marketing (Fine Line Features, SundanceTV, HBO Films). Today, Liz is a strategist and consultant helping nonprofit organizations and progressive campaigns achieve results and make meaningful change. For the 2018 election cycle, she produced online videos for The Creative Resistance, the Midwest Culture Lab, and the Peoria Project.

Tarik Coles was the campaign manager for State Senate candidate Jessica Ramos.

CTL 580x200The Critical Tactics Lab (CTL) is the Hemispheric Institute’s permanent forum for discussion and research on the practices and methods of contemporary and historical action. Drawing on the work of the Yes Lab and the Creative Activism Series, as well as the Institute’s ongoing work with political artists and activists from across the Americas, CTL’s mission is to promote and strengthen critical reflection about the tactics and strategies of past and present political movements. Through lectures, workshops, courses, and other modes of assembly, CTL seeks to provide a space in which the expansive affinities of critical practice and action can be made visible and strengthened.

         The event is free and open to the public. A photo ID is required to enter NYU buildings and 20 Cooper Square is a wheelchair accessible venue. accessibility

Performance | Regina José Galindo: Carguen con sus muertos/Carry Your Dead


Thu 10/25 | Performance | Regina José Galindo: Carguen con sus muertos / Carry Your Dead

Thursday, October 25, 2018
3pm - 5pm

The performance will begin outside of 20 Cooper Square, move on to surrounding streets, and conclude where it began. A reception will follow at the Hemispheric Institute of Performance and Politics at New York University (20 Cooper Square, 5th Fl) from 5:30pm – 6:30pm.

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Carry Your Dead

The Hemispheric Institute of Performance and Politics at NYU and ANOTHER SPACE are pleased to announce Carry your Dead (Carguen con sus muertos), a performance by Regina José Galindo (b. Guatemala, 1974). Building on Galindo's earlier explorations of necropolitics and biopolitics, this new performance addresses the Trump administration's immigration policies and the United States' long history of interventions in Latin America.

As Regina José Galindo states: "Provoked by the intervention of the U.S., the war in Guatemala lasted until the end of the 1990s. In 1996, a peace accord was signed, but in Guatemala there has never been any peace. In the 1980s, thousands of Guatemalans migrated to escape the horror of the war. Then came the gangs, the narco-conflicts, and the string of corrupt governments, which have generated a migratory crisis without precedent. In recent years, thousands of unaccompanied children and adolescents have crossed multiple borders in order to reach the US. Thousands more have arrived with their parents and have been cruelly separated at the border, held in prisons and detention centers across the country. U.S. policies have produced too much pain for millions of individuals around the world. There have been too many deaths." With this new work, Galindo’s first street performance in the United States, the artist aims to directly confront viewers with the underside of America’s foreign and migratory policies.

Carry your Dead / Carguen con sus muertos by Regina José Galindo, was commissioned by the ANOTHER SPACE and the Hemispheric Institute of Performance and Politics at NYU in conjunction with the exhibition The Second Sex at ANOTHER SPACE. On view through October 31, 2018, The Second Sex takes its title from Simone de Beauvoir’s influential 1949 treatise and draws from the Daniel and Estrellita B. Brodsky collection to examine the work of Latin American  female artists whose contributions are too often overlooked by the Western art historical canon.This exhibition includes a number of historic performances by Ana Mendieta, Lotty Rosenfeld, and Regina José Galindo, which explore notions of memory and the relationship between the body, landscape, and politics.

Regina José Galindo was born in 1974 in Guatemala City, where she currently lives and works. Her performance work explores the ethical implications of social injustice, discrimination related to race, gender, and other abuses that result from the unequal power relations that operate in our society. She has been the subject of solo exhibitions at a number of international institutions, including Frankfurter Kunstverein, Frankfurt; PAC Padiglione d’Arte Contemporanea, Milan; MOLAA Museum of Latin American Art, Long Beach, CA and ARTIUM, Vitoria, Spain. She participated in Documenta 14 in Athens and Kassel in 2017, the Venice Biennale in 2001, 2005, 2009 and 2011, the Sharjah Biennial in 2011 and the Sydney Biennial in 2010. Her works are included in the permanent collections of the Museum of Modern Art, New York; the Centre Pompidou, Paris; Tate Modern, London; the Solomon R. Guggenheim Museum, New York; Castello di Rivoli, Turin; Cisneros Fontanals Collection, Madrid; Daros Collection, Zurich; and the Museum of Contemporary Art, San José, Costa Rica; among others. Galindo has been the recipient of multiple awards and prizes, including the Golden Lion for the best artist under 35 at the Venice Biennale in 2005 and the Prince Claus Award in 2011. 

ANOTHER SPACE is a program established by the Daniel and Estrellita B. Brodsky Family Foundation to broaden international awareness and appreciation of art from Latin America. Founded by art historian and collector Estrellita B. Brodsky, as part of the activities of the Daniel and Estrellita B. Brodsky Family Foundation, the program is dedicated to building recognition of modern and contemporary art from the region.

About Hemispheric Institute of Performance and Politics
The Hemispheric Institute connects artists, scholars, and activists from across the Americas and creates new avenues for collaboration and action. Focusing on social justice, we research politically engaged performance and amplify it through gatherings, courses, publications, and archives. Our dynamic multilingual network traverses disciplines and borders and is grounded in the fundamental belief that artistic practice and critical reflection can spark lasting cultural change.

accessibilityThe event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue.

Collection and Book Launch, Panel, and Performance|Franklin Furnace: Performance & Politics


Tuesday, October 23, 2018 
6:00 pm - 9:30 pm 

Film/Video Department
550 Myrtle Ave, Brooklyn
New York 11205

*Live video broadcasting will be available here, beginning at 6:00 pm (EST)* 
RSVP on Facebook To RSVP: Please email Franklin Furnace at with the subject line “Launch Party.”

The Hemispheric Institute of Performance and Politics at NYU and Franklin Furnace Archive, Inc. present Franklin Furnace: Performance & Politics (2018). Co-curated by Martha Wilson and Oraison H. Larmon, this collection of archival materials in the Hemispheric Institute Digital Video Library represents the historical, cultural, and political legacy of Franklin Furnace.

The HIDVL Franklin Furnace Collection includes works by Eleanor Antin, Ron Athey, Horace Brockington, Cassils, Patty Chang, Peter Cramer & Jack Waters, Billy X. Curmano, DANCENOISE, DISBAND, Zackary Drucker & Flawless Sabrina, Bob Flanagan & Sheree Rose, Sherman Fleming & Kristine Stiles, Lawrence Graham-Brown, Guerrilla Girls, Dynasty Handbag, Martha Hellion & Carla Stellweg, Essex Hemphill & Wayson Jones, Holly Hughes, M. Lamar, Ana Mendieta, Tim Miller, Estera Milman, Tracie Morris, Shirin Neshat, Rashaad Newsome, Lorraine O'Grady, Dread Scott, Pamela Sneed, Annie Sprinkle, Amber Hawk Swanson, Julie Tolentino, Diane Torr, Johanna Went, and Martha Wilson, among others.

The program will include brief remarks by Macarena Gómez-BarrisDiana TaylorMartha Wilson, Marcial Godoy-Anativia, and Oraison H. Larmon; a panel discussion with artists Julie Tolentino, Thomas J. Lax, and Hentyle Yapp; as well as a live performance by DANCENOISE. A reception will follow. 

This event is co-sponsored by the Global South Center, the Department of Performance and Performance Studies, and the School of Liberal Arts and Sciences at the Pratt Institute.

Photo courtesy by Oraison H. Larmon, is the cover of the catalog Franklin Furnace: Performance & Politics (HemiPress, 2018). 

Program | Franklin Furnace: Performance & Politics

Welcome and Opening Remarks| 6:00–6:10 pm
Macarena Gómez-Barris 

The Hemispheric Institute Digital Video Library and the Franklin Furnace Event Archive | 6:10–6:25 pm
Diana Taylor and Martha Wilson

Franklin Furnace: Performance & Politics Collection Overview | 6:25–6:40 pm
Martha Wilson and Oraison H. Larmon 

Print and Digital Catalogue Launch 6:40-6:50
Marcial Godoy-Anativia and Oraison H. Larmon

Panel | 6:50–7:45 pm
Franklin Furnace: Performance & Politics
Julie Tolentino, Thomas Lax, and Hentyle Yapp
Moderated by Oraison H. Larmon.

Performance | 7:45–8:20 pm
The group DANCENOISE will perform a short live performance.

Participant Bios:  

Macarena Gómez-Barris is Chairperson of the Department of Social Science and Cultural Studies and Director of the Global South Center at Pratt Institute, a space for critical inquiry that centers experimental modes of thinking, being, and doing. Macarena is author of three books including The Extractive Zone: Social Ecologies and Decolonial Perspectives, that theorizes social life, art, and decolonial praxis through five extractive scenes of ruinous capitalism upon Indigenous territories (Duke University Press, 2017). Macarena’s recently published book Beyond the Pink Tide: Art and Political Undercurrents in the Americas (UC Press 2018), asks us to imagine politics beyond the nation state. She is also author of Where Memory Dwells: Culture and State Violence in Chile (2009), and co-editor with Herman Gray of Towards a Sociology of a Trace (2010).

Diana Taylor is University Professor and Professor of Performance Studies and Spanish at NYU, the 2017 President of the Modern Language Association.  She is the author of Theatre of Crisis: Drama and Politics in Latin America (1991), which won the Best Book Award given by New England Council on Latin American Studies and Honorable Mention in the Joe E. Callaway Prize for the Best Book on Drama; ofDisappearing Acts: Spectacles of Gender and Nationalism in Argentina's 'Dirty War', Duke U.P., 1997; and The Archive and the Repertoire: Performing Cultural Memory in the Americas (Duke U.P., 2003), which won the ATHE Research Award in Theatre Practice and Pedagogy and the Modern Language Association Katherine Singer Kovacs Prize for the best book in  Latin American and Spanish Literatures and Culture (2004). The Archive and the Repertoire has been translated into Portuguese by Eliana Lourenço de Lima Reis (Belo Horizonte, Brazil: Universidade Federal de Minas Gerais 2012) and Spanish by Anabelle Contreras (Santiago de Chile: Ediciones Universidad Alberto Hurtado, 2015.) She published PERFORMANCE (Buenos Aires: Asuntos Impresos, 2012), a new revised version in English with Duke U.P. 2016; and Acciones de memoria: Performance, historia, y trauma, Peru: Fondo Editorial de la Asamblea Nacional de Rectores (2012). She is co-editor ofEstudios avanzados de Performance (Mexico: Fondo de Cultura Económica, 2011), among others. Taylor is the recipient of the Guggenheim Fellowship in 2005, an ACLS Digital Innovation Fellowship, 2013-14. She is Vice President of the Modern Language Association (MLA) and will be President in 2017. Diana Taylor is founding Director of the Hemispheric Institute of Performance and Politics, funded by the Ford, Mellon, Rockefeller, Rockefeller Brothers and Henry Luce Foundations.      

Martha Wilson: is a pioneering gallery director, and feminist artist. In 1976, she founded Franklin Furnace Archive, Inc.—an artist-run space that champions the exploration, promotion, and preservation of artists' books, temporary installation, and performance art. As an artist, Wilson creates innovative photographic and video works that explore her female subjectivity. The New York Times art critic Holland Cotter describes her as one of "the half-dozen most important people for art in downtown Manhattan in the 1970s." Wilson has been granted fellowships for performance art from the National Endowment for the Arts and the New York Foundation for the Arts. She is the recipient of a Bessie Award, Courage Award for the Arts, Obie Award, and Richard Massey Foundation-White Box Arts and Humanities Award. Wilson received an Honorary Doctor of Fine Arts from the Nova Scotia College of Art and Design. 

Marcial Godoy-Anativia is a sociocultural anthropologist and Managing Director of the Hemispheric Institute of Performance and Politics at New York University (NYU). He is also Editor of the institute’s digital journal, emisférica. His publications include "Area Studies and the Decade after 9/11" (2016) with Seteney Shami, Religiones, matrimonio igualitario y aborto: Alianzas con y entre actores religiosos por los derechos sexuales y reproductivos en Argentina (2014) with Daniel Jones y Angélica Peña, Rhetorics of Insecurity: Belonging and Violence in the Neoliberal Era (2013) with Zeynep Gambetti, and Ciudades Translocales: Espacios, flujo, representación—Perspectivas desde las Américas (2005), with Rossana Reguillo. From 2000 to 2007 he served on the Science Research Council, providing support to programs on Latin America and the Caribbean and International Collaboration. He is currently a member of the Board of Directors of NACLA, the North American Congress on Latin America.

Oraison H. Larmon specializes in archiving, curating, and researching performance art collections. While working at New York University, Larmon processed archival materials for the Hemispheric Institute of Performance and Politics. They have served as the curator of the two-day event Performing the Archive (2013), the co-curator of the full-scale exhibition Desperate Archives (2014), and the curator of the performance art program for the Radical Archives Conference (2014). Larmon's work addressing the practical, theoretical, and methodological challenges of archiving performance art has been presented at The New School, Pratt Institute, and New York University, among other institutions. Their current research examines how the archival body of performance art enacts a broader historical discourse through its material, corporeal, and digital compositions. Larmon is currently a doctoral student in the Department of Information Studies at the University of California, Los Angeles.

Julie Tolentino is a performance artist, dancer/choreographer, and visual artist. Her art explores the intersections of queer sexual subcultures, Eastern healing practices, and HIV/AIDS cultural activism. Tolentino's solo and collaborative works have been presented at The Kitchen, Invisible Exports, New Museum, Participant Inc., Performa, San Francisco Art Institute, Yerba Buena Center for the Arts, Commonwealth & Council, The Broad Museum, Los Angeles Contemporary Exhibitions, Museum of Contemporary Art Los Angeles, and Wexner Center, among other venues. Tolentino was a founding member of ACT UP New York's House of Color Video Collective and the legendary Clit Club—a nightclub in New York City that promoted safe-sex for multiracial lesbians. She co-wrote the Lesbian AIDS Project's Women's Safer Sex Handbook, co-edited the TDR: The Drama Review's Provocations section, and served as the editor of Guard Your Daughters: Clit Club 1990–2002 (forthcoming). Tolentino works in New York City. 

Thomas J. Lax  is associate curator of Media and Performance Art at MoMA, where he has organized exhibitions, performances, and publications including Steffani Jemison: Promise Machine, Greater New York 2015, Maria Hassabi: PLASTIC, Projects 102: Neïl Beloufa, and Modern Dance: Ralph Lemon. He worked on a rehang of MoMA’s contemporary collection display across media in 2017, and more recently, an exhibition about the New York-based group of dancers, musicians, and artists who comprised the Judson Dance Theater in the 1960s.

Hentyle Yapp  is an artist and assistant professor at New York University in the Department of Art & Public Policy. He is affiliated faculty with the Disability Council, Asian/Pacific/American Institute, and the Department of Performance Studies. His articles have appeared or are forthcoming in GLQ, American Quarterly, Journal of Visual Culture, and Verge: Studies in Global Asias. He is also a member of the Social Text collective. He received his BA from Brown University, JD from UCLA School of Law with specializations in Critical Race Theory and Public Interest Law, and a PhD from UC Berkeley in Performance Studies.

DANCENOISE: is a dance-based performance art group created by Anne Iobst and Lucy Sexton. Since 1983, they have performed throughout New York City nightclubs and theaters including the W.O.W. Café Theatre, Pyramid Club, 8BC, PS122, Franklin Furnace, The Kitchen, and Lincoln Center. The group hosted a weekly cabaret during the 1980s at King Tut's Wah Wah Hut in the East Village. DANCENOISE has performed, taught, and toured at the Phenomenon Festival (Jerusalem), Queer Up North (Manchester), Vienna Fest Wochen (Vienna), Mayfest (Glasgow), New York Live (Osaka), and numerous squatted houses across Europe. The group received a Bessie Award in 1989 for their performance All the Rage at PS122. In 2015, DANCENOISE exhibited a week-long retrospective at the Whitney Museum of American Art in Chelsea. 

The event is free and open to the public. The venue is wheelchair accessible.

The Homecoming: Joy. Ritual. Resistance.



















Saturday, October 13, 2018
12:00 pm- 6:00 pm

RSVP on Facebook

Click here for the outdoor performance locations. 

The Homecoming: Joy. Ritual. Resistance. is orchestrated by Artist-in-Residence Ebony Noelle Golden and is co-produced by Betty’s Daughter Arts Collaborative and The Hemispheric Institute of Performance and Politics. The Homecoming: Joy. Ritual. Resistance. is a mini-festival that centers public joy rituals, celebration, conversations with artists, thinkers, organizers, and community members. Today’s program features public performances by artists who have been exploring joy as praxis with Ebony since April, an artist talk, and a panel conversation with community artists. #joyritualresistance 

Public Performance Art Fellows:
sára abdullahBabay L. AnglesMarena Faith BlanchardTreva EllisonKolenge FongeRochelle JamilaCynthia Renta, Reanna Roane, Jehan RobersonClarivel Ruiz, and Mshairi Siyanda.

Join us for performances starting at the Chapel of San Lorenzo Ruiz (378 Broome Street), moving on to the Elizabeth Street Garden (Elizabeth St. between Prince and Spring Sts.), and continuing to the Hemispheric Institute of Performance and Politics for an artist talk with Ebony Noelle Golden on the topic of Dissident Geographies and a final reflection on joy and fugitivity with invited artists. 

About Artist in Residence Ebony Noelle Golden:

Propelled by an unflinching pursuit of creative emancipation, cultural wellness, and social justice, Ebony Noelle Golden is an accomplished artist and scholar, and serves as principal engagement strategist at Betty’s Daughter Arts Collaborative.

Ebony stages site-specific rituals + live art performances that profoundly explore the complexities of freedom in the time of now.  She lectures on contemporary black feminist, womanist, and experimental theatre of the African Diaspora at The New School and on community-based art practice in the M.F.A. /M.A. program at Pratt Institute. Her current creative work, wash’d// will have a two-night run at BAAD! November 16-17, 2018. The world premiere of Golden’s large-scale public performance project, 125th & FREEdom, premiere at the National Black Theatre, June 2019.  

Next year,  Betty’s Daughter Arts Collaborative, LLC will celebrate 10 years of service with a year of celebration, creative, and consulting actions geared to amplify our work in the world and our new action plan rooted in influencing and impacting cultural policy in NYC and beyond.

The event is free and open to the public. A photo ID is required to enter NYU buildings. 20 Cooper Square is a wheelchair accessible venue. 

Program | The Homecoming: Joy. Ritual. Resistance. 


Chapel of San Lorenzo, 378 Broome Street

Elizabeth Street Gardens, Elizabeth St. between Prince and Spring Sts.

Hemispheric Institute, 20 Cooper Square, 5th Floor

12:00 PMWalang Hiya,  May Datating Pa (Shamelessly, there is  hope, there is more to come).  by Babay L. AngleS

12:20 PM | Welcome: Ebony Golden

12:25 PM | Process to Elizabeth Street Gardens (Mott St. Entrance)

12:35 PM | even in turmoil...i attend by sara abdullah

12:55 PM | Presentation by Rochelle Wilbun

1:15 PM | Process to The Hemispheric Institute, 20 Cooper Square, 5th Floor

1:25 PMThe Amazing Fefa  by Cynthia Renta

1:45 PM | Break for Refreshments

2:15 PM | Ebony Interactive Artist Talk and Q&A

3:30 PM | Break

3:40 PMcotton mouth by Jehan Roberson

4:00 PM | Reverb: Excerpt from an American Fairy Tale by Reanna Roane

4:20 PM | Kaya Continued  by Clarivel Ruiz

4:40 PM | let it burn by tourmalines by Treva Ellison

5:00 PM | Final Reflection on Joy and Fugitivity with the Fellows

5:30 PM | Closing Ceremony

6:00 PM | End of Day

Acknowledgements and collaborators: 
OluShola A. Cole, Double Edge Theatre, Dragonfly,, Jaime Dzandu, Renee Barabad Floresca, Audrey Hailes, Nina Angela Mercer, and Brian Polite.



The World Inside Out: Humor, Noise, and Performance
El mundo al revés: Humor, ruido y performance
O mundo às avessas: Humor, ruído e performance

Spanish and Portuguese below / Español y portugués abajo / Espanhol e português abaixo




XI Encuentro
The World Inside Out: Humor, Noise, and Performance

June 9-15, 2019
Mexico City
Deadline for Applications: October 29, 2018

The Hemispheric Institute of Performance and Politics  at New York University, in collaboration with the Department of Literature and Theatre of the Faculty of Philosophy and Letters, the University Center for Theatre, the Graduate Program in Art History, the Cátedra Bergman initiative, the Faculty of Political and Social Sciences, and the Contemporary Art University Museum (MUAC) of the National Autonomous University of Mexico (UNAM), along with Ex Teresa Arte Actual, invite scholars, artists, and activists from all disciplines to present proposals around the theme of The World Inside Out: Humor, Noise, and Performance for our 11th Encuentro, to be held in Mexico City from June 9–15, 2019.

In the face of increasing inequality, rising authoritarianism and violence, and ongoing threats to democratic institutions, we seek to forge spaces of critical practice and creative inquiry to theorize and instrumentalize satire, humor, laughter, music, and noise in their broadest senses in order make visible, unfold, denounce, fracture, and revert the assemblages of power behind these alarming processes. As we also celebrate liberatory and democratizing victories big and small, we propose to confront both our collective outrage and out collective hopes by mobilizing art, action, and critique that—through aesthetic inversion, mockery, critical pirouettes, noisy denunciation, and strident celebration—can reveal, disarm, and decolonize and, at the same time, give meaning to our desires for better futures.

Artists, scholars, activists: we invite your provocations, proposals, and irreverent manifestos to participate in work groups, performances, street-art actions, and cabaret. For all work group descriptions, and for details on how to apply, please visit:

Encuentro participation is by application only. You must fill out an online application form, where you will submit all required materials as outlined on our website and within the application form itself. Application deadline is October 29, 2018. All those who are interested in attending the Encuentro as general participants, even without proposing a project, must still apply using this application form and submit a personal Letter of Intent, and Individual Bio, and a CV/Résumé. If you would like to propose a performance, or if you would like to apply to participate in a Work Group, you will be able to submit the required materials for each.


XI Encuentro
El mundo al revés: Humor, ruido y performance

Del 9 al 15 de junio de 2019
Ciudad de México
Fecha límite: 29 de octubre de 2018

El Instituto Hemisférico de Performance y Política de la Universidad de Nueva York, en colaboración con el Colegio de Literatura Dramática y Teatro de la Facultad de Filosofía y Letras, el Centro Universitario de Teatro, el Posgrado en Historia del Arte, la Cátedra Bergman, la Facultad de Ciencias Políticas y Sociales y el Museo Universitario Arte Contemporáneo (MUAC) de la Universidad Nacional Autónoma de México (UNAM), junto con Ex Teresa Arte Actual, invitan a académicxs, artistas y activistas de todas las disciplinas a formular y presentar trabajos en torno al tema El mundo al revés: Humor, ruido y performance, para nuestro XIº Encuentro que se realizará en la Ciudad de México del 9 al 15 de junio del 2019.

Frente a un contexto global de creciente desigualdad social, violencia y fragilidad institucional, buscamos forjar espacios de práctica crítica e investigación creativa con el propósito de teorizar e instrumentalizar la sátira, el humor, la risa, la música, el ruido y la bulla en sus sentidos más amplios para develar, visibilizar, denunciar, desdoblar, fracturar y revertir los ensamblajes de poder detrás de este inquietante panorama. Celebrando también los pequeños y grandes triunfos libertarios y democratizantes de estos tiempos, proponemos enfrentar tanto nuestro espanto como nuestras esperanzas colectivas con el arte, la acción y el pensamiento crítico que —a través de la inversión estética, la burla cabaretera, la pirueta crítica, la denuncia bulliciosa y la alegría sonora— develan, desarman y descolonizan y, a la vez, les otorgan sentido a nuestros anhelos de futuros mejores.

Artistas, académicxs, activistas: invitamos sus provocaciones, propuestas y manifiestos irreverentes para participar en grupos de trabajo, performances, arte-acción de calle y cabaret. Para ver las descripciones de los grupos de trabajo, y para obtener detalles de cómo solicitar, visite:

La participación en el Encuentro se determina a través de un proceso de solicitud. Tendrá que completar una solicitud electrónica y enviar todos los materiales requeridos, como se indica en nuestro sitio web y en el formulario mismo. La fecha límite es el 29 de octubre, 2018. Ojo: Todo el mundo que quiera participar, aun sin proponer proyectos, debe solicitar a través del formulario e incluir una carta de intención, una breve biografía, y un CV/hoja de vida. Si desea proponer una performance, o participar en un grupo de trabajo, podrá incluir sus propuestas en el formulario.



XI Encuentro
O mundo às avessas: Humor, ruído e performance

9 a 15 de junho de 2019
Cidade do México
Prazo: 29 de outubro de 2018

O Instituto Hemisférico de Performance e Política da New York University, em colaboração com o Departamento de Literatura Dramática e Teatro da Faculdade de Filosofia e Letras, o Centro Universitário de Teatro, o Programa de Pós-Graduação em História da Arte, a Cátedra Bergman, a Faculdade de Ciências Políticas e Sociais e o Museo Universitario Arte Contemporáneo (MUAC) da Universidad Nacional Autónoma de México (UNAM), junto com o Ex Teresa Arte Actual, convidam acadêmicxs, artistas e ativistas de todas as disciplinas a formular e apresentar um trabalho sobre o tema do O mundo às avessas: Humor, ruído e performance no nosso XIº Encuentro, a ser realizado na Cidade do México de 9 a 15 de junho de 2019.

Diante de um contexto global de crescente desigualdade social, violência e fragilidade institucional, buscamos forjar espaços de prática crítica e pesquisa criativa com o propósito de teorizar e instrumentalizar a sátira, o humor, o riso, a música, o ruído e a chacota em seus sentidos mais amplos para revelar, visibilizar, denunciar, desdobrar, fraturar e reverter os conjuntos de poder por trás desse panorama inquietante. Celebrando também os pequenos e grandes triunfos libertários e democratizantes destes tempos, propomos enfrentar tanto o nosso espanto quanto as nossas esperanças coletivas com a arte, a ação e o pensamento crítico que – através da inversão estética, da zombaria de cabaré, da pirueta crítica, da denúncia barulhenta e da alegria sonora – revelam, desarmam e descolonizam, ao tempo em que dão sentido aos nossos anseios por futuros melhores.

Artistas, acadêmicxs, ativistas: solicitamos suas provocações, propostas e manifestos irreverentes para participarem de grupos de trabalho, performances, arte-ação de rua e cabaré. Para ver as descrições dos grupos de trabalho e os detalhes do processo de candidatura, visite

A participação no Encuentro requer inscrição. É necessário preencher um formulário online, no qual você deverá submeter todos os materias requisitados, conforme descrito no nosso website e no formulário. O prazo limite para as inscrições é o dia 29 de outubro de 2018. Todxs xs interessadxs em comparecer ao Encuentro como participantes gerais, mesmo que não tenham intenção de propor um projeto, devem efetuar a sua inscrição utilizando o formulário, e submeter uma Carta de Intenções pessoal, uma Biografia Individual e um Curriculum Vitae. Caso você deseje propor uma performance ou queira candidatar-se a participar de um Grupo de Trabalho, você poderá submeter os materiais requisitados para cada caso.


Deportee Suitcase Solidarity Action | Thu 7/26 @ 5:30 pm | #WhatWouldYouPack

Screen Shot 2018-07-06

Thursday, July 26, 2018
5:30 pm 
26 Federal Plaza 
New York City

Click here for video.
Click here for the Facebook event. 



The deportation machine has many layers. We invite you to join us in an action that will bring to light one such layer—invisible to many—that profoundly marks the lives of our friends, our neighbors.

When Immigration and Customs Enforcement (ICE) orders our Friends deported, their loved ones can pack one 25 lb suitcase for them. Each day, people in our communities must pack such a suitcase and submit it to ICE for inspection. When they drop off these suitcases with ICE, they cannot see their loved one to say goodbye.

Some of our friends and neighbors are deported to countries they left as children, where they know no one and may not speak the language. It may be a place with little opportunity, where their sexuality is criminalized, where there is war or drought. They often face grave danger.

We are asking you to think about one person—someone you love—and imagine packing their suitcase before they were deported to a country where you might never see them again. The suitcase is everything your loved one will leave with; the suitcase contains the belongings they will start over with. We invite you to think about this choice: what objects, what pieces of clothing, what photos, what books, what letters what would you pack?

Members of our communities, our neighbors, have to make these choices every day. They have to think in these terms. They have to pack one suitcase for their loved ones. 

On July 26th, at 5:30 PM, we will gather at 26 Federal Plaza in New York City to honor those who have been deported and their loved ones—and to make visible this form of invisible violence.

We ask that you bring ONE (1) OBJECT YOU WOULD PACK in your love’s suitcase to 26 Federal Plaza, as we shed a light onto the deportation machine that continues to cause violence, and suffering on our communities.

The New Sanctuary Coalition of New York City, Reverend Billy And The Stop Shopping Choir, NYU Sanctuary, Caribbean Equality Project, the Hemispheric Institute of Performance and Politics, and other organizations invite artists and volunteers to contribute their art, music, media, and other creative interventions.

Please share this email with friends, colleagues, and networks.


If you are interested in helping and participating, please email and 

Hemi July Events | Cuerpxs Radicales: Radical Bodies in Performance | Brooklyn Museum 

2018 July Radical Women Performance Series LMM INDIA DarylETillman 2048w 600 400


July 5, July 12, and July 19, 2018

Brooklyn Museum 
200 Eastern Pkwy 

Brooklyn, NY 11238

RSVP on Facebook

Introducing new and recent work by contemporary Latinx artists as they respond to themes in the Brooklyn Museum's exhibition Radical Women: Latin American Art, 1960–1985. In conjunction with the exhibition, the Brooklyn Museum in collaboration with the NYUHemispheric Institute of Performance and Politics, invites a selected group of artists to present a three-day performance series.

Join us for Cuerpxs Radicales: Radical Bodies in Performance (taking place July 5, 12, and 19), that will showcase female-identified and gender-nonconforming Latinx artists in the greater NYC area who are exploding rigid notions of femininity. Featuring performance, visual art, literature, music, and everything in between, the series centers a younger generation engaging with our current political and cultural landscape.

*This series contains mature subject matter, including nudity and strong language.*

July 5:

7–8 pm Ela Troyano and Alina Troyano

8–8:30 pm Awilda Rodríguez Lora

8–9 pm Sonia Guiñansaca (Hemi 2018 Artist in Residence) 

9–9:30 STEFA*

July 12:

6–9:30 pm Arantxa Araujo

6:30–9:30 pm Francheska Alcántara

7–7:30 pm Ray Ferreira

8:30–9:10 pm Jennif(f)er Tamayo

July 19:

7–8 pm Marsha Parrilla

8–8:30 pm Joiri Minaya

7:30–9:30 pm Alicia Grullón (Hemi 2018 Artist in Residence)

8:30–9:30 pm Linda LaBeija

The performance series is free with the museum’s (pay-what-you-can) general admission.

Women, Race and Dignity: This Ain’t A Eulogy | Screening & Discussion  



Thursday, June 21, 2018
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor
New York, NY 10003

Click here for the Facebook event

RSVP on Eventbrite

*Live video broadcasting will be available here, beginning at 6:00 pm (EST)* 

While the global community addresses such issues as health security, peacekeeping, and nonproliferation of weapons of mass destruction, the voices of women of color are largely excluded. Ambassador Bonnie Jenkins founded Women of Color Advancing Peace, Security and Conflict Transformation (WCAPS) in 2017 to advance leadership and professional development of women of color in international peace and security. WCAPS created the forum “Peace, Security, and Art” to promote engagement between women of color artists whose work encompass these themes and women of color interested in and working in the policy field.

Join us for the WCAPS Art Forum’s inaugural event, a screening of Taja Lindley’s short film This Ain’t A Eulogy: A Ritual for Re-Membering. The screening will be followed by a discussion between Lindley and Ambassador Bonnie Jenkins on the intersections of women, race, and dignity in our society through the lens of art and policy.

Taja Lindley (Hemi EMERGENYC alumna, 2014) is an artist, activist, writer, and healer, based in Brooklyn. Lindley holds a BA from NYU’s Gallatin School of Individualized Study. She uses movement, text, installation, ritual, burlesque, and multimedia to create immersive works that are concerned with freedom, healing, and pleasure. In addition to being an artist, Lindley is actively engaged in social movements as a writer, consultant, and facilitator. She is the founder of Colored Girls Hustle and a member of Echoing Ida and Harriet's Apothecary. Her work has been featured at the Brooklyn Museum, Hammer Museum, New York Live Arts, the Movement Research at Judson Church series, Brooklyn Arts Exchange (BAX). She is currently developing a body of work recycling and repurposing discarded materials. |

Ambassador Bonnie Jenkins is the Founder and President of Women of Color Advancing Peace, Security and Conflict Transformation (WCAPS) and a Nonresident Senior Fellow at the Brookings Institution in Washington, DC. Jenkins was nominated by President Obama and confirmed by the U.S. Senate in 2009 as Special Envoy and Coordinator for Threat Reduction Programs in the Bureau of International Security and Nonproliferation, U.S. Department of State (DOS). She served in that position until January 2017. Jenkins was the DOS lead for the 2010–2016 Nuclear Security Summits and the U.S. Representative to the G7 Global Partnership Against the Spread of Weapons and Materials of Mass Destruction. She led diplomatic efforts promoting the Global Health Security Agenda (GHSA), helped establish the GHSA NGO Consortium, and founded the GHSA Next Generation Network. |

Presented by Art to Zebras, New York University Hemispheric Institute of Performance and Politics, and Women of Color Advancing Peace, Security and Conflict Transformation (WCAPS). 

Me Quedo: A Reading of #PapiFemme & #NostalgiaAndBorders


Thursday, June 14, 2018
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor
New York, NY 10003


RSVP on Facebook

*Live video broadcasting will be available here, beginning at 6:00 pm (EST)*

 "Go back" they say, ¡pero me quedo! Hemi 2017-18 Artist in Residence Sonia Guiñansaca, a migrant queer poet, performs from her first chapbook #NostalgiaAndBorders and from the upcoming sequel #PapiFemme. Like a requiem, these poems are a remembrance of old "homes" and of those we had to leave behind in the process of migration. Guiñansaca will weave together sacred experiences and memories from Ecuador with newer narratives as a queer, gender non-conforming Latinx growing up in NYC. “Me quedo in the homes I am building, me quedo in the memories nearly forgotten, me quedo in the kisses that linger still, me quedo aquí.”  

Join us for this event, which will feature readings by Giselle Buchanan and Kay Ulanday Barrett, performances by Alan Pelaez, and art by Rommy Torrico. Q&A and reception will follow performance. 

Sonia Guiñansaca (Hemi 2017-2018 Artist in Residence) is an internationally acclaimed queer migrant poet, cultural organizer and activist from Harlem by way of Ecuador. A VONA/Voices and BOOAT Alumni, Sonia has performed at The Met, El Museo del Barrio, The Nuyorican Poets Cafe, Lehmann Maupin Gallery, Galería de La Raza, and has been featured on NBC, PBS, Latina Magazine, Pen America, the Poetry Foundation, and UK’s Diva Magazine, to name a few. They were named as 1 of “10 Up and Coming Latinx Poets You Need to Know” by Remezcla, 1 of 13 “Coolest Queers on the Internet” by Teen Vogue, and 1 of 3 U.S.A. Future Leaders Delegates for the British Council. Sonia—who is currently the Managing Director at CultureStrike—has co-founded and helped build some of the largest undocumented organizations and artistic projects in the country, and has emerged as a national leader in the undocumented/migrant artistic and political communities. Follow their work on Twitter/IG: @thesoniag or

Rommy Torrico is a queer, undocumented artivist, born in Iquique, Chile, raised in Naples, Florida, and has recently moved to NY/NJ. Rommy has been involved in the (im)migrant rights struggle for several years and infuses much of their work with personal experience and the stories their community shares. Their work has been exhibited in California, Washington DC, and NYC. You can find more about them on and follow them on IG: @Rommyyy123

Alan Pelaez Lopez is an Afro-Indigenous poet, collage, installation, and adornment artist from Oaxaca, México. In their visual and literary work, they explore the intersections of PTSD, undocumented immigration, Indigeneity, queer feelings, and Black flesh. They are a 2018 Pushcart Prize nominee, named one of “10 Up and Coming Latinx Poets You Need to Know” by Remezcla and one of “10 Poets for the Revolution,” in Best American Poetry Blog.Their essays, poetry and political analysis have appeared in Black Girl Dangerous, Fusion Magazine, The Feminist Wire, Colorlines, and more. Follow them on their website at and as @migrantscribble on all social media. 

Giselle Buchanan is a poet, multidisciplinary artist and writer from the Bronx, NY. Despite the use of many mediums, her work is united under the umbrella of healing. She believes beauty is restorative and that art can act as a therapeutic agent. As an artist deeply involved in her community, she has worked extensively with women, incarcerated men on Rikers Island, and children in East Harlem, the Bronx, and Brooklyn. Additionally, she has worked for various organizations, including the Bronx Museum, Harlem Textile Works and New York Writers Coalition, facilitating workshops and assisting in programs designed to empower the creative and intellectual spirits of students from often underserved communities. She has performed in many places, from bookstores to ballrooms, like Hammerstein Ballroom, the Apollo Theater, the Chicago Theater, Housing Works Bookstore, Bluestockings, and more. She has published writings in Hanging Loose and poems have been featured on media outlets like MSG Network and Nickelodeon. She currently resides in Brooklyn, NY. See their work at

Kay Ulanday Barrett is a poet, performer, and educator, navigating life as a disabled pilipinx-amerikan transgender queer in the U.S. with struggle, resistance, and laughter. Ulanday has been invited to The White House, Princeton University, UC Berkeley, The Lincoln Center, Queens Museum, and The Chicago Historical Society to name a few. They are a fellow of both The Home School and Drunken Boat. Their contributions are found in PBS News Hour Poetry, Poor Magazine, Trans Bodies/Trans Selves, Windy City Queer: Dispatches from the Third Coast, Make/Shift, Third Woman Press, The Advocate, and Bitch, and the upcoming anthologies, Outside the XY: Queer Black & Brown Masculinity and Writing the Walls Down: A Convergence of LGBTQ Voices. See their work at

*The space is wheelchair accessible. No stairs. Direct elevator from ground floor to 5th floor.
*We strongly encourage all participants of the space/event to be scent-free. 


La Lotería de la Migración and the Visual Languages of Advocacy Exhibition Opening and Panel Discussion


Thursday, April 19, 2018
7:00-9:00 pm

Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003

RSVP on Facebook

How do visual and textual languages speak to each other—and to us—about complex personal and political experience?

Richard Arthur Fleming’s Lotería de la Migración reimagines the traditional Mexican Lottery card game and its striking iconography as emblems of the logistical and legal obstacles to Central American and Mexican migration to the United States. Lotería serves as an occasion for this expanded discussion about intricate relationships between image, text, culture, and the politics of migration. The exhibition is on view from April 19, 2018 through May 31, 2018.

The panel features panelists Alexandra Délano Alonso (Associate Professor and Chair of Global Studies, The New School), Richard Arthur Fleming (artist, writer, and documentarian), and Catherine Taylor (Co-Director, Image Text Ithaca MFA and ITI Press), and will be co-moderated by Marcial Godoy-Anativia (Managing Director, NYU Hemispheric Institute of Performance and Politics) and Suzanne Maria Menghraj (Chair, Contemporary Culture and Creative Production, NYU Global Liberal Studies).

Alexandra Délano Alonso is Associate Professor and Chair of Global Studies at the New School. Her research focuses on diaspora policies, the transnational relationships between states and migrants, and the politics of memory in relation to undocumented migration. She is the author of From Here and There: Diaspora Policies, Integration and Social Rights Beyond Borders (Oxford University Press, 2018).

Richard Arthur Fleming is a writer, artist, and documentarian excited and inspired by the subcultures and vernacular of the global south. He is the author of Walking to Guantanamo, a travelogue about crossing the length of Cuba at the dawn of the millennium. His multi-panel exhibition Lotería de la Migración is the focus of this event.

Catherine Taylor (Ph.D. Duke University) is a writer and editor who works on a wide range of nonfiction forms—from documentary and literary journalism to lyric essays and hybrid-genre writing. She is the author of You, Me, and the Violence; Apart; and Giving Birth. She is Co-Director of the Image Text Ithaca MFA program and ITI Press.

Presented by NYU’s Global Liberal Studies and Hemispheric Institute of Performance and Politics, in association with the Institute for Public Knowledge and Colloquium for Unpopular Culture.


I Want A Better Catastrophe Andrew Boyd’s Gallows Humor


Thursday, April 19,  2018
6:00-8:00 pm

I Want A Better Catastrophe Andrew Boyd’s Gallows Humor 

Bumming out about climate apocalypse? The 6th Great Extinction getting you down? Join Andrew Boyd for a “hopelessness workshop.” Thrown into a crisis of hope, this life-long activist set off on a quest to find out how leading thinkers and your grandmother are grappling with the “impossible news” of our climate doom. He’s returned with an unfinished manuscript and a broadside of gallows-humor life-advice — as well as a few surprisingly emotional flowcharts — about how to live on the cusp of catastrophe, including: ”The apocalypse is a terrible thing to waste,” ”Hopelessness can save the world,” and “Don’t worry, we’re not heading off a cliff, just a sharp slippery slope.” Together, we’ll step through the 5 stages of climate grief, gamely game-out our existential options, and ask aloud several taboo questions, including: “Why the fuck am I recycling?” If you’ve ever wanted to tell someone else how to write their own book, now’s your chance. You’ll laugh, you’ll cry, you’ll tell him which subtitle he should use. Maybe another end of the world is possible?

We invite you to attend the reading of Andrew Boyd’s manuscript and share your feedback.

Andrew Boyd is an author, humorist and long-time veteran of creative campaigns for social change. He led the decade-long satirical media campaign “Billionaires for Bush,” founded the art-activist toolbox and laboratory Beautiful Trouble, and co-created the grief-storytelling ritual The Climate Ribbon. He's the author of several books, including Daily Afflictions and Life’s Little Deconstruction Book. In his current work-in-progress,I Want a Better Catastrophe, he explores the emotional and ethical dimensions of our climate predicament. Unable to come up with his own lifelong ambition, he’s been cribbing from Milan Kundera: “to unite the utmost seriousness of question with the utmost lightness of form.” You can find him at 

This event is co-sponsored by NYU's Department of Art and Public Policy. 


Transnational Sanctuary: Ecologies of Migrant Care and the Politics of Solidarity 





Thrusday, April 12 and
Friday, April 13, 2018

Hemispheric Institute of Performance and Politics, NYU and the Working Group on Expanding Sanctuary, The New School

Transnational Sanctuary is a two-day event that convenes activists, scholars, faith leaders, and grassroots organizations to examine sanctuary as a transnational practice, an ideal, a theory, an historical proposition, a call to civil disobedience, and a vision of social justice for the present. 

What does sanctuary mean and how is it practiced in the United States and beyond? How are practices of migrant care, advocacy, and solidarity framed in relation to the concept of sanctuary? Aside from sanctuary, what other vocabularies, strategies and practices are being used? How can both the idea and the practice of sanctuary complement the work of activists responding to the violence of expulsion, the dangers faced in transit, and the brutality of detention and deportation? How do shelters, churches, activists, and organizations cooperate across borders? Is a transnational politics of sanctuary possible? What can other movements learn from sanctuary movements, both historical and contemporary? As activists on the ground grapple with these questions, Transnational Sanctuary is an invitation to students, activists, scholars, and the broader public to reflect, imagine, and strategize.

Participants include:

Rev. John Fife (Southside Presbyterian Church, Tucson), Amparo Marroquín (Universidad Centroamericana, El Salvador), Dr. Rev. Renee McKenzie (The Church of the Advocate, Philadelphia), Juan Carlos Ruiz (New Sanctuary Coalition of NYC), Jill Anderson (Otros Dreams en Acción), Marco Castillo (Asamblea Popular de Familias Migrantes), Azza Falfoul (Watch The Med Alarmphone, Tunisia), Father Ismael Moreno, SJ (Radio Progreso, Honduras), Byron Cruz (Sanctuary Health, Vancouver),  Reverend Billy and Savitri D (The Church of Stop Shopping), Alyshia Galvez (Lehman College), Maggie Loredo (Otros Dreams en Acción), Diana Taylor (New York University), Marta Pérez (Yo Sí Sanidad Universal; and Universidad Complutense de Madrid), Ángelo Cabrera (MASA), Marcial Godoy-Anativia (Hemispheric Institute), Alexandra Délano Alonso (The New School), Abou Farman (The New School), Anne McNevin (The New School), Miriam Ticktin (The New School), Pablo Domínguez (Princeton University), Loren Landau (University of the Witwatersrand, South Africa), Sheila Quintana (Independent activist, Philadelphia), among others. 

Simultaneous interpretation in Spanish and English will be provided.

Schedule of events:

Thursday, April 12

09:30 am-4:30 pm: Presentations and dialogues
*Live video broadcast will be available here.*

Hemispheric Institute
20 Cooper Square, 5th Floor
New York, NY 10003

9:30-10:00 am  Breakfast

10:00-10:15 am  Welcome and Introductions

Diana Taylor (Hemispheric Institute) and Abou Farman (The New School)

10:15-11:30 am  Sanctuary and the Politics of Solidarity
 What practices are associated with Sanctuary and solidarity with migrants across different communities and regions?

Marco Castillo (Asamblea Popular de Familias Migrantes), Azza Falfoul (Watch The Med Alarmphone, Tunisia), Ismael Moreno, SJ  (Radio Progreso, Honduras), Moderator: Anne McNevin  (The New School)

11:45 -1:00 pm   Sanctuary, Religious Actors, and Communities of Faith
What is the specific role of religious communities in Sanctuary? How to they they engage with broader social and political movements?

Juan Carlos Ruiz  (New Sanctuary Coalition), Dr. Rev. Renee McKenzie (The Church of the Advocate), John Fife (Southside Presbyterian Church, Tucson), Moderator: Marcial Godoy-Anativia (Hemispheric Institute)

1:00 - 2:00 pm  Lunch

2:15 - 3:30 pm   Sanctuary and Practices of Care
What role do sanctuary and migrant care practices play in different moments of the migration process--arrival, transit, reception, detention, deportation—in different regions?

Marta Pérez  (Yo Sí Sanidad Universal, Madrid), Byron Cruz  (Sanctuary Health, Vancouver), and Maggie Loredo (Otros Dreams en Acción, Mexico City), Moderator: Miriam Ticktin  (The New School)

3:30-4:00 pm  Presentation of Ecologies of Migrant Care Initiative, Hemispheric Institute

Diana Taylor, Marcial Godoy-Anativia, Pablo Domínguez, Alexei Taylor

4:15 - 4:30 pm  Reverend Billy and Savitri D (The Church of Stop Shopping)

5:00-5:45 pm: Weekly ICE Detention Center Vigil with the New Sanctuary Coalition

Varick Street Processing Center
201 Varick Street
New York, NY 10014

6:30-8:30 pm: Keynote panel

The New School
John L. Tishman Auditorium, University Center
63 Fifth Avenue, Room U100
New York, NY 10003

Jill Anderson (Otros Dreams en Acción, Mexico City)
John Fife (Southside Presbyterian Church, Tucson)
Amparo Marroquín (Universidad Centroamericana,San Salvador)
Juan Carlos Ruiz (New Sanctuary Coalition, NYC)
Moderators: Marcial Godoy-Anativia (Hemispheric Institute) & Alexandra Délano Alonso (The New School)

Friday, April 13

10:00 am-4:00 pm: Workshops and longtable discussion 

The New School
Klein Conference Room (510)
New York, NY 10011

Organized by the Hemispheric Institute of Performance and Politics at NYU and the Zolberg Institute Working Group on Expanding Sanctuary at The New School, with support from The Henry Luce Foundation, the Open Society Foundation, and the Andrew W. Mellon Foundation.

The Extractive Zone: Cecilia Vicuña’s Social Ecologies a Decolonizing Vision Speaker Series Lecture by Macarena Gómez-Barris 














Wednesday, February 28, 2018

6:00-8:00 pm

Macarena Gómez-Barris, Social Science & Cultural Studies, Pratt Institute.

Extending arguments in her recently published book The Extractive Zone: Social Ecologies and Decolonial Perspectives, Gómez-Barris considers performative engagement with oceanic space, its social ecologies, and its occupation by transnational mega-extractive industries. During a time of new authoritarianisms in the Américas, she shows how extractive capitalism reorganizes the Pacific Ocean into a normative geography, where questions of stewardship and governance become epiphenomenal to the primary condition of resource accumulation. How does New York-based and mestiza artist Cecilia Vicuña’s sense the sea? How does she address the complexities of Indigeneity in the Global South? And, how might we think about Vicuña’s sea choreographies and similar radical artistic work as forms of embodiment that dissipate human, inhuman, and (after) nature divides?

Macarena Gómez-Barris is Chairperson of the Department of Social Science and Cultural Studies at Pratt Institute and Director of the Global South Center. She is author of The Extractive Zone: Social Ecologies and Decolonial Perspectives that theorizes social life through five extractive scenes of ruinous capitalism, especially upon Indigenous territories (Duke University Press, 2017). She is also author of the forthcoming Beyond the Pink Tide: Art and Politics in the Américas (UC Press, 2018) and Where Memory Dwells: Culture and State Violence in Chile (UC Press, 2009). She is co-author with Herman Gray of Towards a Sociology of a Trace (University of Minnesota Press, 2010) and co-editor with Diana Taylor of Duke University Press series Dissident Acts. Macarena was a Fulbright fellow at Sociology and Gender Department in FLACSO Ecuador, Quito (2014-2015).

*This event is free & open to the public. Venue is accessible.*

Co-Sponsored by the NYU Center for the Study of Gender & Sexuality; and Hemispheric Institute of Performance & Politics.

image: Cecilia Vicuña from Kon Kon (2012) 

El Indulto: Memory and the Archive in Contemporary Peru

unnamedFriday February 2, 2018
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor Conference Room
New York, NY 10003

This event will take place in Spanish with translation.
Photo by: Lucho La Torre

Karen Bernedo Morales (Pontificia Universidad Católica del Peru)
Leticia Robles-Moreno (Muhlenberg College)
Olga Rodríguez-Ulloa (Lafayette College)
Moderator: Claudia Salazar Jiménez (NYU)

 The recent exoneration of former dictator Alberto Fujimori has transported many Peruvians back to the nineties. Today more than ever, it has become clear that the democratic transition of the early 2000’s was little more than a reconfiguration of authoritarian political forces. The image of Peru as “a country without memory” has reemerged in the public sphere while, at the same time, a series of massive responses from Peruvian civil society has demonstrated the strength of trans-generational resistance to this imperative. This event will examine the present through the “eyes of the archive” in order to connect ideas around affect, theatricality, and performance. Panelists will address the mechanisms of cooptation deployed by Fujimorist forces as well as the acts of resistance and remembrance that are disrupting this attempt to erase and repeat history.

Karen Bernedo Morales holds a masters degree in Visual Anthropology and a degree from the Gender Studies department of the Pontificia Universidad Católica del Peru. She’s an independent curator and a professor at the Universidad Científica del Sur specializing in performing arts. She has created documentaries and exhibitions around the themes of art and memory within the internal armed conflict in Peru. Karen is a founding member of theMuseo Itinerante Arte por la Memoriacollective, which has received the National Art and Human Rights Award from the Príncipe Claus Foundation.  

Leticia Robles-Moreno holds a Ph.D in Performance Studies from New York University. Her research focuses on knowledge and bodily practices in Latin America and in the way they reconfigure political and transnational communities. She is currently studying the role of collective creation within theatre groups in the current Latin-American socio-political context. She analyzes the expansive networks of art and performance collectives as survival tactics and in the recovery of cultural memory within the fight for gender equality as well as sexual reproductive rights. Leticia is a professor at Muhlenberg College.

Olga Rodríguez-Ulloa holds a Ph.D in Literature from Columbia University. Her research specializes in contemporary Latin-American Culture, with a focus on the Andes region. She’s currently writing about the cultural and social implications of the eighties underground scene in Peru. Her interests include visual culture, literature, non-fiction film, and urban and interdisciplinary studies.

Claudia Salazar Jiménez is a Peruvian academic and writer. Her first novel “La Sangre de la Aurora”, written from a female perspective on the internal armed conflict in Peru, obtained the Las Américas de Narrativa award. Her research projects and publications connect personal narrations with memory politics. She’s currently a professor at NYU and Brooklyn College.

Dancing While Black: This Body Knows Freedom Story Circles on Organizing toward Vision in an Age of Resistance

Story Circles in Action FINALFORREAL-FORWEB2

Thursday, November 9, 2017
6:00-9:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor Conference Room
New York, NY 10003

Led by Wendi O’Neal and Paloma McGregor

With Invited Guests Ebony Noelle GoldenKendra RossMaria BaumanDr. Brenda Dixon-Gottschild, and Ishmael Houston-Jones.

What does it take to activate and maintain vision, particularly in moments where there is much to organize against? In this evening of storytelling, we will hear from a group of visionary dance artists about what they are working toward, and share stories of our own. This event marks the kickoff of Dancing While Black’s fifth anniversary season. Story Circles is a democratic process of storytelling created by John O’Neal of the Free Southern Theater, the predecessor of Dancing While Black’s New Orleans partner, Junebug Productions.

Wendi Moore-O'Neal is a cultural worker, facilitator, and educator who was born and raised in New Orleans. She’s worked in local, regional and national justice organizations over the last 26 years; but her heart’s work is rooted at home, especially the kind of organizing that happens around kitchen tables and during porch-time. Wendi uses freedom songs and story circles to share what she knows about Black resistance movement culture and history.

Paloma McGregor is a New York-based, Caribbean-born choreographer whose work focuses on centering Black voices through collaborative, process-based art-making and organizing. She has worked with grandparents, children, environmental educators, academics and other artists to create a wide range of work, including a dance through a makeshift fishnet on a Brooklyn rooftop, a structured improvisation for a floating platform in the Bronx River and a devised multidisciplinary performance work about food justice with three dozen community members and students at UC Berkeley. Paloma does this work as Co-Founder and Director of Angela's Pulse, which creates and produces collaborative performance work dedicated to building community and illuminating bold new stories.

Damcing While Black is an artist-led initiative that supports the diverse work of Black dance artists by cultivating platforms for process, performance, dialogue and documentation. We bring the voices of Black dance artists from the periphery to the center, providing opportunities to self-determine the languages and lenses that define their work.

"The Fearless Benjamin Lay: The Quaker Dwarf Who Became the First Revolutionary Abolitionist" by Marcus Rediker | Book Launch 


Thursday, November 16, 2017
6:00-8:00 pm

Hemispheric Institute of Performance and Politics
20 Cooper Square, 5th Floor Conference Room
New York, NY 10003

The Fearless Benjamin Lay chronicles the transatlantic life and times of a singular and astonishing man—a Quaker dwarf who became one of the first ever to demand the total, unconditional emancipation of all enslaved Africans around the world. He performed public guerrilla theater to shame slave masters, insisting that human bondage violated the fundamental principles of Christianity. He wrote a fiery, controversial book against bondage that Benjamin Franklin published in 1738. He lived in a cave, made his own clothes, refused to consume anything produced by slave labor, championed animal rights, and embraced vegetarianism. He acted on his ideals to create a new, practical, revolutionary way of life.

Please join us as we celebrate the launch of this publication with a presentation by author Marcus Rediker. Reception to follow.

Marcus Rediker is Distinguished Professor of Atlantic History at the University of Pittsburgh and Senior Research Fellow at the Collège d’études mondiales in Paris. His books have won numerous awards and been translated into fifteen languages. They include The Many-Headed Hydra (2000; with Peter Linebaugh), Villains of All Nations (2004), The Slave Ship (2007), and The Amistad Rebellion (2012).  His most recent book is The Fearless Benjamin Lay: The Quaker Dwarf who became the First Revolutionary Abolitionist (Beacon Press, 2017). He is also the producer of the prize-winning documentary film Ghosts of Amistad: In the Footsteps of the Rebels, about the popular memory of the 1839 Amistad rebellion in contemporary Sierra Leone. He is currently working as guest curator in the JMW Turner gallery at Tate Britain.