|Articles, Arts, Asian Diaspora, Media Archive, Native Americans/First Nation, United States on 2017-04-22 19:55Z by Steven|
New York, New York
This piece is part of a blog salon, curated by Caridad Svich, called “Stages of Resistance.” The series welcomes reflections on themes related to making work for live performance in political and aesthetic resistance to forms and systems that oppress human rights and censor or severely limit freedom of expression. We are in increasingly hostile, volatile times around the world, and this salon hopes to serve as a space for considered, thoughtful, polemical articulations of practice and theory on the subject of resistance, the multiple meanings of political art, and the ways in which progressive, wholistic cultural change may be instigated through artworks. Stay tuned for more articles and reflections in this series throughout March and April 2017!
Don’t write about people of color.
Don’t blend Eastern and Western theater aesthetics.
These were things that were said to me when I began making art for the stage.
The inspirations for the art I wanted to make often included immigrants, people of color, and globally blended theater aesthetics. Did that mean I needed to learn to be an excellent secretary, like many of my white teachers in Junction City, Kansas, told me? No.
For someone who is Japanese, African American, Native American Indian, and Cuban, life is always political. Even amid this complexity, people of color come from mono-ethnic perspectives and do not understand a multiethnic perspective such as mine. To exist in almost any space creates challenges, but the making of art that resists those challenges allows me to liberate myself from the categorical cages into which many feel they must place me. Art, therefore, is an avenue to freedom…
Read the entire article here.