7TH ANNUAL
FESTIVAL OF Latin American CONTEMPORARY CHOREOGRAPHERS
***FLACC 2020: EL GRITO***
Featured ARtists EVERY WEDNESDAY
Sept. 16 - Nov. 18, 4PM PST/ 6PM CST/ 7PM EST
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Resistant, queer, indigenous, international and hybrid choreographers of the Latinx diaspora raising their voices every Wednesday on Zoom and Facebook Live.
Second generation Chicana and queer Artistic Director, Liz Duran Boubion(US/MX) has curated 9 consecutive weeks of virtual dance performances, conversations and lecture demonstrations by prominent members of the international Latinx dance community putting Indigeneity, Afro-Latinidad, Queer Latinx Performance, Immigrant worker rights and Colorism in Latin America at the forefront of the pre-election dance festival every Wednesday. FLACC 2020’s featured dance makers are responding to the curatorial theme “El Grito” with a contemporary and emergent act of solidarity during a global pandemic. "El Grito" (The Scream) is referring to an historically rooted demonstration that takes place every year on September 16th, marking Mexican Independence Day. El Grito originally took place in 1810, when Father Miguel Hidalgo urged the people to revolt against Spanish rule in Dolores, Mexico with a call and response speech that included crying out the names of revolutionaries that led to their liberation. The call and response of El Grito (call the name... respond "¡VIVA!") is used all over Latin America as a way to bring the people together for social change. What do you live for, cry for or fight for? Víva qué? Víva quien? Víva por qué? Who has moved you toward liberation? What/who/how do we honor our sources of inspiration or survival? In what ways can you call or respond to your community right now? How does El Grito exist in your body? In its 7th rendition, FLACC continues to act as a premier resource for the contemporary arts sector by pushing for narratives and personal stories that are not easy to find in the typically hetero-normative arena of traditional Latinx dance forms nor in the typically white-dominated world of U.S. contemporary modern dance. Dancers out of work and greatly impacted by shelter in place mandates of COVID 19 need your support and solidarity to spread the word, donate and put FLACC on your calendar in a crucial time when we need to reimagine a dignified and just society for us all. Let us reinvent reality together. ____________________________________________________________________ PUT Miércoles de El Grito on your calendar! EVERY WEDNESDAY 4PM PST / 6PM CST / 7PM EST.
A series of performance presentations and live interviews with the artists. ***Special opportunity to engage with world renowned choreographers in the LIVE Q & A when you RSVP!*** Suggested donation $10 per session. ***LIVE Spanish Interpretation available con registro with Andreina Maldonado!*** |
CALENDAR:
*ALL EVENTS in English and Spanish on Zoom. 1) September 16. Latinx/Indigenous intersections - Rodrigo Esteva/Dance Monks(MX/US). A talk on El Grito de Dolores and the history that led up to that moment, beginning with the Spanish Conquer of Mexico. Inspired by the work of Leon Portilla, one of the foremost historians of Mexico who focused on history as seen from an indigenous perspective. Moderator: Arturo Mendez(MX/US). 2) September 23. Latinx LGBTQ intersections Tyler Rivera(PR/US). Showing of “valIDity” (11 min award-winning trio) followed by a Q&A with the dancers. Moderator: Eric Garcia(US/Cuba) 3) September 30. Are You For Sale?- Miguel Gutierrez(US/Colombia) in conversation with NALAC President/CEO Maria Lopéz De Leon. Looking at the ethics of funding, philanthropy and art-making. 4) October. 7. Choreographing Race & Gender: (Afro) Latina Identity on Stage -A conversation between Dr. Melissa Blanco Borelli (US/Cuba/Colombia) and choreographer/dancers Rosie Herrera (US/Miami/Cuba) and Yndira Perea (Colombia). Excerpts from Herrera’s “Show.Girl” and Perea’s “Trenzadas” will help contextualize our discussion which will also touch upon histories of colorism, anti-blackness and the cabarets of Latin America. 5) October 14. First Generation Chicanx and the Politics of belonging - Victor Quijada/Rubberband Dance Group(Montreal/MX). From early LA B-Boy to Canada’s concert dance sector. Viewing of Victor's most recent solo choreography. “Trenzado”. Moderator: Dr. Juan Manuel Aldape Muñoz(MX/US). 6) October 21. Premiere: “Fire in the Mountain/ Fuego en la Montaña - Dance Monks/ Rodrigo Esteva(MX/US) & Mirah Moriarty Esteva(US), focused on our sacred relationship to Nature and dance as a medium for interdimensional communication. Followed by Q & A with Dance Monks and filmmaker, Eric Koziol moderated by Liz Duran Boubion. 7) October 28. Decolonizing the Performing Body: Somatics and Choreographic Inquiry. Rosana Barragán(Colombia/US)- Decolonizing the Body- Somatics and movement experience. CatherineMarie Davalos(US/MX) - Moving, Feeling Generating: A Site for Chicana/o/x Resistance- lecture-demonstration chronology of work. 8) November 11. Mexican Migrant Perspectives in Theater and Dance - Q & A with José Ome Navarrete Mazatl to follow. Dr. Juan Manuel Aldape Muñoz/Patas Secas(MX/US). How the Pandemic is effecting immigrant workers in meat factories. Violeta Luna(MX/US) Presenting excerpts of her piece Sanct-u-are. Responding to “sanctuary city”, shelter for immigrants and an expression for the unsafe. 9) November 18. Join the Piñata Dance Collective presenting excerpts from "Piñata 45: The End of Her Rope." Solo narratives on gender violence, body dysmorphia and intersectional feminism directed by Liz Duran Boubion(US/MX), with her collaborators, Andreina Maldonado(Venezuela/US), and Ronja Ver(Finland/US). *note: there is no event on Nov. 4th after elections. |
El Grito #1: September 16. Latinx/Indigenous intersections - Rodrigo Esteva/Dance Monks(MX/US). A talk on El Grito de Dolores and the history that led up to that moment, beginning with the Spanish Conquer of Mexico. Inspired by the work of Leon Portilla, one of the foremost historians of Mexico who focused on history as seen from an indigenous perspective. Moderator: Arturo Mendez(MX/US).
RODRIGO ESTEVA (www.dancemonks.com) was born and raised in Mexico City and is the co-founding director of DANCE MONKS (Bay Area/Yucatán) with Mirah Moriarty which they founded in the year 1999 while living in the mountains of Xalapa, Mexico. He is also the co-founding director of Ook'ot Festival Internacional de Danza, a gathering of artists from around the world. Their interdisciplinary, experimental work delves into the intimate and mythic relationship between people and Nature. Rodrigo and Mirah are committed to making art as a way of life; as a daily discipline in deep listening and responsive action. They often collaborate with experimental artists and change-makers whose work involves mythology, folklore, and ritual of the diaspora.
El Grito #2: September 23. Latinx LGBTQ intersections Tyler Rivera(PR/US). Showing of “valIDity” (11 min award-winning trio) followed by a Q&A with the dancers. Moderator: Eric Garcia(US/Cuba)
Tyler Rivera (Artistic Director/Choreographer/Performer) is a senior at Georgian Court University. While training in ballet and modern techniques, he invests in his own work with the choreographic mentorship of Silvana Cardell and Megan Mazarick. His newest work valIDity was performed at the Mid-Atlantic North ACDA Regional Gala Concert and selected to be presented at the ACDA National Festival in Long Beach, CA. Along with ACDA, some of his other works have been performed at Fringe Arts (Philadelphia) and Koresh Dance (Philadelphia). Tyler will be bringing his collaborators Alonzo Magsino and Quincy Southerland to the post show Q & A with Eric Garcia.
El Grito #3: September 30. Are You For Sale?- Miguel Gutierrez (US/Colombia) speaks with Maria Lopéz de León, President and CEO of National Association of Latino Arts and Culture (NALAC) about art making, philanthropy and ethics.
Miguel Gutierrez is a Colombian-American choreographer, composer, performer, singer, writer, educator and arts advocate based in Brooklyn. He creates dance-based performances, tours with his Madonna cover band SADONNA, and teaches as a guest artist in festivals and universities. Recent work includes This Bridge Called My Ass, a group piece that bends tropes of Latinidad to identify new relationships to content and form. His current project is Are You For Sale? - a podcast that looks at the ethics of money and art making. He is a 2014 Whitney Biennial artist, and a recipient of a 2016 Doris Duke Artist Award.
María López De León is the President, CEO and board member of the National Association of Latino Arts and Cultures (NALAC). In January 2013, President Obama appointed Ms. De León to serve on the National Council on the Arts. In 2012 and 2013, Ms. De León was named among the nation’s Fifty Most Powerful and Influential People in the Nonprofit Arts. She has been with NALAC for twenty-two years and has served as President and CEO for four years and Executive Director for seventeen years. Under her leadership, NALAC developed and launched four grant programs including the NALAC Fund for the Arts (NFA), the Catalyst for Change, Transnational Cultural Remittances , Leadership Institute. She is dedicated to strengthening communities through the arts and has multiple years of experience working with Latino artists and arts organizations. She serves on multiple arts and culture policy panels and is a noted speaker and advocate for the arts, cultural equity and social and economic justice. Ms. De León serves on the National Council on the Arts and on the boards of the First People’s Fund, the National Assembly of State Arts Agencies, the National Hispanic Leadership Agenda, the Performing Arts Alliance, the Lewis Prize for Music and the United States Department of Arts and Culture. She is an advisory council member of Women of Color in the Arts.
María López De León is the President, CEO and board member of the National Association of Latino Arts and Cultures (NALAC). In January 2013, President Obama appointed Ms. De León to serve on the National Council on the Arts. In 2012 and 2013, Ms. De León was named among the nation’s Fifty Most Powerful and Influential People in the Nonprofit Arts. She has been with NALAC for twenty-two years and has served as President and CEO for four years and Executive Director for seventeen years. Under her leadership, NALAC developed and launched four grant programs including the NALAC Fund for the Arts (NFA), the Catalyst for Change, Transnational Cultural Remittances , Leadership Institute. She is dedicated to strengthening communities through the arts and has multiple years of experience working with Latino artists and arts organizations. She serves on multiple arts and culture policy panels and is a noted speaker and advocate for the arts, cultural equity and social and economic justice. Ms. De León serves on the National Council on the Arts and on the boards of the First People’s Fund, the National Assembly of State Arts Agencies, the National Hispanic Leadership Agenda, the Performing Arts Alliance, the Lewis Prize for Music and the United States Department of Arts and Culture. She is an advisory council member of Women of Color in the Arts.
El Grito #4: October. 7. Choreographing Race & Gender: (Afro) Latina Identity on Stage - This panel will feature a bilingual conversation between Dr Melissa Blanco Borelli (US/Cuba/Colombia) and choreographer/dancers Rosie Herrera (US/Miami/Cuba) and Yndira Perea (Colombia).
This panel will feature a bilingual conversation between Dr. Melissa Blanco Borelli (US/Cuba/Colombia) and choreographer/dancers Rosie Herrera (US/Miami/Cuba) and Yndira Perea (Colombia). We will talk about the spectacularity of the black/Latina body on stage and the recalcitrant ways in which choreography and dance can play with the expectations of sexiness, sassiness and sensuality attached to the black/Latina body. Excerpts from Herrera’s “Show.Girl” and Perea’s “Trenzadas” will help contextualize our discussion which will also touch upon histories of colorism, anti-blackness and the cabarets of Latin America.
Dr. Melissa Blanco Borelli is the author of She Is Cuba: A Genealogy of the Mulata Body which won the Society of Dance History Scholars' 2016 de la Torre Bueno Prize for best book in Dance Studies. She has been faculty at MIT, University of Surrey, UK and Royal Holloway, University of London where she remains affiliated as a Reader in Dance Theory and Performance. Her research interests include identity and corporeality; blackness in Latin America; dance on screen; film studies; feminist historiography and performance/auto-ethnography; cultural memory; digital humanities; decolonial aesthetics; and thinking beyond "the human." A recipient of a UK Arts and Humanities Research Council grant, she is the Principal Investigator on a project that co-creates digital performance archives with Afro-Colombian and indigenous communities affected by the armed conflict. She is the current President of the Dance Studies Association at University Maryland.
Rosie Herrera is a Cuban-American dancer, choreographer and artistic director of Rosie Herrera Dance Theater based in Miami, FL. She is a graduate from New World School with a BFA in Dance Performance. She has been commissioned by The Miami Light Project, The Adrienne Arsht Center for the Performing Arts, Ballet Hispanico, Jose Limon Dance Company, New Dialect, Moving Ground Dance Theater, Houston Met Dance, New World Symphony and the American Dance Festival (ADF) in 2010, 2011, 2013, 2016 and 2018. Her company, Rosie Herrera Dance Theatre, has been presented by the Northrop Dance Series, New World Symphony, Adrienne Arsht Center for the Performing Arts, Miami Light Project, Baryshnicov Arts Center, Texas A & M University, Duncan Theater, The Annenburg Center, Maui Arts and Cultural Center, Dance Place, Contemporary Arts Center New Orleans, The Yard at Marthas Vineyard, Alys Stephens Center, Wilson Center at Cape Fear University, The Rialto Center, Diana Worthan Theater, Gotham Dance at Skirball and Focus Dance at The Joyce as well as by The American Dance Festival at the Joyce NYC in 2016 and 2018.
Yndira Perea Cuesta was born in Quibdó Chocó, where she integrates numerous folk dance groups in the department. In 1997 he joined the Afro-Colombian cultural corporation Sankofa, directed by Rafael Palacios, where she acquired the Afro-contemporary dance technique, with this corporation she has had the opportunity to participate in numerous national and international festivals in countries such as: France, Spain, Burkina Faso, Jamaica, Brazil, Canada, United States, China, Panama, Mexico, Peru, Uruguay. In her professional career as a dancer, she has had the opportunity to receive workshops with great exponents of Afro-contemporary technique and traditional African dance, among the most prominent: Irene Tassembedo, Salia Sanou, George Momboye, Mafila Kouyate, Mito Camará, Youssouf Koumbassa, Assetou Diabate, among others. Winner of the dance internship "Colombia - Cuba dance" of the Ministry of Culture 2015. Yndira is finishing her studies in Dance Professionalization (U of A). Director and Choreographer of the company Wangari Afro-contemporary Dance, created 8 years ago as a space for the training, creation and research of Afro dance.
Rosie Herrera is a Cuban-American dancer, choreographer and artistic director of Rosie Herrera Dance Theater based in Miami, FL. She is a graduate from New World School with a BFA in Dance Performance. She has been commissioned by The Miami Light Project, The Adrienne Arsht Center for the Performing Arts, Ballet Hispanico, Jose Limon Dance Company, New Dialect, Moving Ground Dance Theater, Houston Met Dance, New World Symphony and the American Dance Festival (ADF) in 2010, 2011, 2013, 2016 and 2018. Her company, Rosie Herrera Dance Theatre, has been presented by the Northrop Dance Series, New World Symphony, Adrienne Arsht Center for the Performing Arts, Miami Light Project, Baryshnicov Arts Center, Texas A & M University, Duncan Theater, The Annenburg Center, Maui Arts and Cultural Center, Dance Place, Contemporary Arts Center New Orleans, The Yard at Marthas Vineyard, Alys Stephens Center, Wilson Center at Cape Fear University, The Rialto Center, Diana Worthan Theater, Gotham Dance at Skirball and Focus Dance at The Joyce as well as by The American Dance Festival at the Joyce NYC in 2016 and 2018.
Yndira Perea Cuesta was born in Quibdó Chocó, where she integrates numerous folk dance groups in the department. In 1997 he joined the Afro-Colombian cultural corporation Sankofa, directed by Rafael Palacios, where she acquired the Afro-contemporary dance technique, with this corporation she has had the opportunity to participate in numerous national and international festivals in countries such as: France, Spain, Burkina Faso, Jamaica, Brazil, Canada, United States, China, Panama, Mexico, Peru, Uruguay. In her professional career as a dancer, she has had the opportunity to receive workshops with great exponents of Afro-contemporary technique and traditional African dance, among the most prominent: Irene Tassembedo, Salia Sanou, George Momboye, Mafila Kouyate, Mito Camará, Youssouf Koumbassa, Assetou Diabate, among others. Winner of the dance internship "Colombia - Cuba dance" of the Ministry of Culture 2015. Yndira is finishing her studies in Dance Professionalization (U of A). Director and Choreographer of the company Wangari Afro-contemporary Dance, created 8 years ago as a space for the training, creation and research of Afro dance.
El Grito #5: October 14. First Generation Chicanx and the Politics of belonging - Victor Quijada/Rubberband Dance Group(Montreal/MX). From early LA B-Boy to Canada’s concert dance sector. Viewing of Victor's most recent solo choreography. “Trenzado”. Moderator: Dr. Juan Manuel Aldape Muñoz(MX/US).
Victor Quijada, Choreographer of RUBBERBAND DANCE GROUP (Canada/MX). Born and raised in Los Angeles, the child of Mexican parents, Victor first danced in the b-boying circles and hip-hop clubs of his native city. He performed with Rudy Perez from 1994 to 1996, then moved to New York City to join THARP! After spending three years with that company and following a stint with Ballets Tech, in 2000 he came to Montreal to join Les Grands Ballets canadiens. In 2002, he founded RUBBERBAND, throwing himself into deconstructing the choreographic principles he had learned by blending them with the raw ideology of his street dance origins. His creations – numerous short works and 14 full-length productions – are distinguished by a powerful theatricality, the energy of improvisation, and certain codes of film language, the whole sculpted with an incomparable precision of movement.
El Grito #6: October 21. Premiere: “Fire in the Mountain/ Fuego en la Montaña - Dance Monks/ Rodrigo Esteva(MX/US) & Mirah Moriarty Esteva(US), focused on our sacred relationship to Nature and dance as a medium for interdimensional communication. Followed by Q & A with filmmaker, Eric Koziol.
Dance Monks/Rodrigo Esteva and Mirah Moriarty Rodrigo and Mirah Esteva are the co-founding directors of DANCE MONKS, currently living in the San Francisco Bay Area of California in the Xučyun (Huichin) Ohlone lands and in Yucatán, Mexico of the Yucatec Mayans. They founded DANCE MONKS in the year 1999 while living in the mountains of Xalapa, Mexico, and Ook'ot International Dance Festival in 2020. They have dedicated their lives to interdisciplinary, experimental work that delves into the intimate and mythic relationship between people and Nature. They view dance as a potent medium to rekindle our relationship with the wild and the stories that reside in the land. Their most recent works ask essential questions about cultural displacement and amnesia while observing the potential of the arts to restore soul memory. In times of forced or voluntary migration, what happens to the old stories and traditions that bond people with the land? How can we, as artists, create refuge or fertile ground for this wisdom to continue to grow for future generations? Dance Monks have taught and performed internationally over the last 20+ years as a duet and extensively with world-renowned companies including as members of the physically integrated AXIS Dance Company (2007-08, Oakland), Pearson Widrig Dance Theater Company (1994-2001, NYC), Apostalia Papadamaki (1993-96, Greece) and Gerado Delgado (1992, Mexico City), in major festivals, universities and venues throughout the United States and Mexico as well as in Canada, Peru, and Europe.
El Grito #7: October 28. Decolonizing the Performing Body: Somatics and Choreographic Inquiry.
Rosana Barragán(Colombia/US)- Decolonizing the Body- Somatics and movement experience.
CatherineMarie Davalos(US/MX) - Moving, Feeling Generating: A Site for Chicana/o/x Resistance- lecture-demonstration chronology of work.
CatherineMarie Davalos (Director/Choreographer) As a Chicana choreographer, her work emerges from her Mexican voice and the constant rediscovery of identity. Davalos makes dances that question heteronormativity using a feminist, Latina, and Chicana perspective. Due to her art and activism, she was named one of ten international artists in Artist OF NOTE: The Immigrant Issue, Spring 2014. http://ofnotemagazine.org/issue-the-immigrant-issue/. Professor Davalos is the Director of Dance at Saint Mary’s College which includes a traditional undergraduate program for young dancers, an undergraduate program for professional dancers known as LEAP, and a graduate division which offers an MFA in Dance: Creative Practice, and an MFA in Dance: Design and Production. She has served as a FLACC advisor since 2014 and featured her choreography in 5 FLACC festivals.
Rosana Barragan is a dance and movement artist and educator. Her graduate degree in Dance Studies from the Laban Centre/City University in London integrates three scholarly areas: choreography, choreological studies and aesthetics. Rosana is certified as a Body Mind Dancing teacher and registered through ISMETA as a Dynamic Embodiment Somatic Movement Educator. Rosana has worked as a professor of dance at universities in her native country, Colombia, and is currently tenure track faculty at Saint Mary’s College of California where she teaches in both the undergraduate and graduate dance programs. Rosana is an advocate of dance and somatics on the West Coast and owns a dance school for children, which method, is part of enrichment programs at schools in San Francisco. Her choreographic work has been awarded internationally for its success at embracing social awareness.
Rosana Barragan is a dance and movement artist and educator. Her graduate degree in Dance Studies from the Laban Centre/City University in London integrates three scholarly areas: choreography, choreological studies and aesthetics. Rosana is certified as a Body Mind Dancing teacher and registered through ISMETA as a Dynamic Embodiment Somatic Movement Educator. Rosana has worked as a professor of dance at universities in her native country, Colombia, and is currently tenure track faculty at Saint Mary’s College of California where she teaches in both the undergraduate and graduate dance programs. Rosana is an advocate of dance and somatics on the West Coast and owns a dance school for children, which method, is part of enrichment programs at schools in San Francisco. Her choreographic work has been awarded internationally for its success at embracing social awareness.
El Grito #8: November 11. Mexican Migrant perspectives in Theater and Dance - Q & A to follow.
Dr. Juan Manuel Aldape Muñoz/Patas Secas(MX/US). How the Pandemic is effecting immigrant workers in meat factories.
Violeta Luna(MX/US) Presenting excerpts of her piece Sanct-u-are. Responding to “sanctuary city”, shelter for immigrants and an expression for the unsafe.
Juan Manuel, Ph.D /Patas Secas(MX/US) is a queer alien with a migrant disposition and a choreographing problem. Sometimes he makes dances and other times the dances make him do things. He comes from mountain people in Leon, MX and Salt Lake City, Utah. His work engages the experiences of working-class life, immigration, and racism. He combines Latinx contemporary dance with multi-media elements and bilingual story telling with the belief that the intersection of contemporary dance theater and social justice makes us think and move in more inclusive ways. He’s been a resident artist for venues such as the Alfredo Zalce Contemporary Art Museum (Morelia, MX), 5 Acre Farm (England), STATION-Service for Contemporary Dance (Belgrade, Serbia), Zenon Dance Company (Minneapolis, US), and Sugar Space Arts Center (Salt Lake, US). He produces and choreographs performances across the United States and Mexico. He has a Ph.D. in performance studies from the University of California, Berkeley. www.juanmaldape.com
Violeta Luna (MX/US) Violeta's work engages the relationship between theatre, performance art and community-based practice. Luna uses her body as a territory to question and comment on social and political phenomena. Born in Mexico City, Luna obtained her graduate degree in Acting from the Centro Universitario de Teatro (UNAM,) and La Casa del Teatro. She has performed and taught workshops extensively throughout Latin America and Europe, as well as in Rwanda, Egypt, India, New Zealand, Japan, Canada and USA. She is a Creative Capital and National Association of Latino Arts and Cultures (NALAC) Fellow, and a member of The Magdalena Project: International Network of Women in Contemporary Theatre. This wil be her 2nd time performing in FLACC.
www.violetaluna.com
Violeta Luna (MX/US) Violeta's work engages the relationship between theatre, performance art and community-based practice. Luna uses her body as a territory to question and comment on social and political phenomena. Born in Mexico City, Luna obtained her graduate degree in Acting from the Centro Universitario de Teatro (UNAM,) and La Casa del Teatro. She has performed and taught workshops extensively throughout Latin America and Europe, as well as in Rwanda, Egypt, India, New Zealand, Japan, Canada and USA. She is a Creative Capital and National Association of Latino Arts and Cultures (NALAC) Fellow, and a member of The Magdalena Project: International Network of Women in Contemporary Theatre. This wil be her 2nd time performing in FLACC.
www.violetaluna.com
El Grito #9: November 18. Join the Piñata Dance Collective presenting excerpts from "Piñata 45: The End of Her Rope." Solo narratives on gender violence, body dysmorphia and intersectional feminism directed by Liz Duran Boubion(US/MX), with her collaborators, Andreina Maldonado(Venezuela/US), Issachar Curbeon(US) and Ronja Ver(Finland/US).
Liz Duran Boubion, MFA, RSMT(She/They) FLACC's founding artistic director, is a second generation Chicana and queer choreographer of the Piñata Dance Collective founded in 2011 in the San Francisco Bay Area. Her choreography, under the name of the Piñata Dance Collective founded in 2011, includes a body of work developed as deconstructed Piñata rituals serving as a container for the creative process and as metaphors relating to the internal/external landscape of the female body politic, gender-based violence, post-colonial mestiza identity, creation, destruction, consumption and resilience. Though her recent work has artistically departed from the Piñata concept in her time-specific one-woman show, June Bug Rolls Toward the Sun Like a Scarab (June 2019) and her co-directed site-specific movement installation Bridges & Bones (Berkeley Art Museum & Pacific Film Archive 2019), Liz created over 15 Piñata Breakthrough Performances in the US and Mexico from 2011-2018. Her FLACC 2020: El Grito presentation will include a panel discussion highlighting 4 intersectional feminist narratives danced by members of her 2018 dance theater cast in Piñata 45: The End of Her Rope. The piece included an inverted Miss Universe contest exposing the psychological bondage of domestic violence by Ronja Ver; the history of Miss Venezuela and the prevalence of cosmetic surgery by Andreina Maldonado; body dysmorphia as seen through the eyes of an African American child, by Issachar Curbeon; and the performative narrative of Boubion's Piñata Humana solo dangling in the air by a bungee.