I found this article really fascinating because I never thought of someone using Cabaret in such a political manner. Although I am not quite familiar with the art of Cabaret, I am aware that it is something enjoyed more on the “fringes” on society and definitely has some sort of social commentary involved in it.
What separates these “performances” from traditional theatre or Cabaret is their reliance on themselves as the mise-en-scene of the show. Like a performance artist, these actors and actresses rely heavily on their own body to convey their message. Even in the most extreme and comical ways, such as Astrid Hadad’s outrageous costumes. However, her outfits merely serve as a platform for historical references, political and social critiques. The quote “One’s perception of one’s body, however, is dependent upon individual social and historical experience”, affirm the use of her body as the performance. These events have defined her body, and other people’s bodies, especially women. Therefore, provoking feminist and queer ideologies.
“Queerness is not just a synonym for gay and lesbian subalternities because cabaret performances impact and attract more than the gay or queer sector of Mexican society. The queerness and queering they produce within the dramatic text of Mexican culture is their deviation from or perversion of the sexual norm as part of the fragmentation that this culture experiences today.” This quote is significant, because it represents what wasn’t represented enough in our readings about the collective groups. Maris Bustamante and others touched on this, but now there is a venue, literally, for artists to critique femininity and queerness in Mexican Culture. Through the exploration and deviation of semiotics and linguistics in contemporary Mexico, a dialogue is opened up between the performer and the audience, educating them and evoking a sense of activism within them.
I agree with your thoughts on the political cabaret of Mexico. My question is do you think that these performers would be able to get away so easily with criticizing their government and political figures if it were not for the outlandish humorous nature of the performances?
Given the venues they chose to do these performances, I think they wouldn't have a problem. But even Proceso Pentagono was criticizing the government out in the streets and they got away with it. I think the use of these outlandish performances isn't to "get away" with criticizing the government, but rather to engage and educate audiences in a new and creative way.
I think you both make valid points. For example, when I think about Justin's question, contemporary US shows like The Daily Show or the Colbert Report (or even SNL) come to mind. Sometimes, it seems, critique is permissible if humor is the medium.
Then again, as Matthew points out, humor also functions as a way to engage the audience, perhaps an audience who might not be otherwise politically-inclined.
This article is very enlightening and gives the term "cabaret" a much more in depth and profoundly critical dimension of which I had no idea it contained. I would have thought cabaret to be a show of dancing loose women performing for their male audience, I was wrong. Superficially cabaret may appear to be an outsider theater type of production but intertwined with these performances there is a very critical social political commentary. Cabaret unlike theater is a constantly changing thing. The performers use their improvisational skill and body's to comment on both the current events of the country and also of past historical events. Normally something like this would cause for government censorship or similar action, but the humor of the show and audience interaction acts as a catalyst. Great skill is displayed by the writers and performers in the sense of constantly changing appearance and content of dialogues and songs to fit the current events of which they are trying to bring attention to. This is called critical citizenship or Mexican neoliberalism. The queerness is not just a reference to sexuality of individuals but also of the fractured fragmented society in which Mexicans find themselves in today. This queer vessel acts as an educative force for the audience as they are welcomed to be outspoken in their opinions of the subject matter of the show. This dialogue between the performers and audience is also what sets cabaret apart from traditional theater, in other words cabaret is a living art form. Cabaret is much more than meets the eye "political cabaret takes risks and poses formal and ideological questions both of which are fundamental traits of any artistic movement" p.64. This quote resounds in my head because it goes to show the power of art to go past the traditional aesthetics of performance art and is much more collaborative and educational on many levels that take the shape of strange humorous shows made for the everyday joe living in Mexico.
I wonder if cabaret is more successful (depends on how we define success, of course - here, I mean it as provoking a change in the ideas or perspectives of the audience) than traditional art forms like painting and sculpture, since it functions more like traditional popular entertainment. Do you think Astrid Hadad has more sway than Michelangelo or Diego Rivera?
Gaston Alzates “Dramaturgy,citizenship and Queerness” explores contemporary Mexican cabaret and how its deeply rooted in the political issues that plague the Mexican people. The mexican cabaret aimed to change and challenge the collective norm, while also providing the audience with an alternative story. As Alzates states “it calls attention to the fragmentation and multiplicity of Mexican reality and especially to the need for nondogmatic and queer perceptions of it.” (Alzate,62). The complex history of Mexico has left the mexican people with a faux sense of collectiveness. A common struggle we come across through mexican art history is that of defining the “history of Mexico.” Each person has their own unique definition of what it means to be mexican. These performers uses an artistic platform to define their mexican history.
Alzatles gives the example of performer Astrid Hadad who uses comedy to poke fun at social and political issue.Hadad uses visual, costumes and music as a part of her performance to convey issues of mexico in the past and present. “In the same way that there was a resemanticization of the European Christian icons in the Latin American Baroque, Hadad’s performances queer the traditional and contemporary emblems and icons of mexican culture. Through the use of mystical and profane elements, her cabaret shows the history of her lesbian body, the history of a multiple, diverse, and fragmented self- in other words, the history of Mexico.” ( Alzatles, 69) Despite these performances carrying a political agenda it is quite clear that they deal with personal issue that rely heavily on the body and sexaultiy. This brings up the theme of the “personal is political.” The personal “problems” are in fact political. These artist are using personal issue in their cabaret performances as a way to convey this message to a larger audience. I couldn't help but think of Regina Gallindo while I was reading this, i understand the obvious differences between the works of Gallindo and the cabaret performances mention in this reading but essentially these artist all share a common theme.
I'm glad you raised this question of "mexican-ness" or what it means to be Mexican. We need to discuss this further in class. Are identity politics still important in Mexico today?
I also think we should talk more about the similarities you see between Hadad's and Galindo's work. As you mention, the style - or perhaps the visual impact - are different and likely come out of different artistic traditions, but what is it that links them?
Contemporary Mexican Political Cabaret by Gaston A. Alzate presents an idea that cabaret is utilized as a tool to playfully express distaste within the current Mexican culture. A surprising contrast to last week’s readings since the article goes on to describe in detail the way these cabaret performances subvert and critique the Mexican government by highlighting topics “excluded or minimized by dominant discourses.” (Pg.63) The way Alzate describes Tito Vasconcelos’s work as not only pulling from “popular culture, advertising and TV programs” as well as requiring his performers to read current newspapers and “adapt their roles accordingly,”(pg. 69) brought to mind a musical version of The Daily Show, a popular nightly critique of current headlines presented in a humorous way to point out painful irony that exists in our daily lives. These small theaters seem to be a haven for political and social criticism in a way the grupos never found, even when they infiltrated museums or biennials. What I found interesting was the repeated personification of Mexico in these cabaret performances to dissemble the embedded colonialism, Catholicism and symbolism (the dreaded “isms”) that plague the “queered” population of Mexico. My favorite personification is Hadad’s costume in La multimamada in “which she appeared in traditional Mexican dress covered with plastic breasts representing the motherland.” She says “I feel like the true image of the Mexican Republic: all fucked up.” (pg. 68) As if by inhabiting Mexico What is also interesting to me is the theme of neo-liberalism Las Reinas Chulas use to inform their work. A set of values that highlights the individual and individual gain utilizing an U.S. model of capitalism, usually by negating the work of the community, brought to light in such community based work. While some cabaret performance seems to take issue with the myths and history of Mexico, Las Reinas embraces it and tries to reclaim it in a way that brings to light how neo-liberalist practices can corrupt a society. As with the majority of the readings for the class, my question is always: how does it help or should it have to help? I think in this particular context, the fact that there is such a place for flamboyant yet thought provoking performance work is a step in the right direction.
How funny! Whenever I think about Mexican cabaret, I always think of the Daily Show as well, obviously for its reliance on humor as the channel for contemporary social and political criticism.
I'm glad you've brought up the capitalism question, since we'll be discussing others artists who have similar concerns next week.
I wonder, if, particularly when we think about this return to valuing collective work (as with Las Reinas Chulas) there is a nod to the road paved by Los Grupos in the 70s.
Contemporary Mexican Political Cabaret by Gaston A. Alzate gives some perspective on the political awareness that cabarets create in Mexico. There is this idea of combining comical, whimsical, circus like acts when exhibiting significant events/political messages in Mexico. Alzate describes Mexican Cabaret accordingly, "the Political cabaret thus provides a communal symbolic space for reconstructing a symbolic order that is multiple, complex, critical, highly enjoyable, and attuned to Mexican reality" (Alzate, 75). The artist take a humorous approach to reflect the injustices done to the Mexican people and to Mexico. Many cabarets take place in public spaces making audience participation an important part of the performance. The public performances create awareness to the message being expressed by the performers. I feel this is a unique yet successful approach to the main goals of many of the artists. It seems that the audience would be more receptive to the message if there were less seriousness to the delivery. Cabarets are entertaining and may keep the audience engaged for a longer period of time in turn causing the audience to reflect on what is really being communicated.
Many of the performances incorporate popular iconic images of Mexican culture such as the cactus and the eagle. This can be seen in many of Astrid Hadad's performances where she utilizes many iconic symbols of Mexican culture. Hadad also incorporates the popular style of singing known as ranchera, which is graceless almost vulgar in many cases, but extremely well known in Mexico. Hadad is an ideal representation of Mexican Cabaret. Her costumes, singing, and props all portray an array of serious political messages in a straightforward, amusing fashion. The question of how Mexican Political Cabaret is intended to change the injustices of the country is important to contemplate. I believe the idea is to not create change, but to create awareness amongst the Mexican People. Contemporary Mexican Political Cabaret is also a representation of the frustrations many of the performers deal with in regards to the unjustness of their people and their country.
You bring up three topics I'd like us to discuss further tomorrow:
1. Symbolism - eagles, cactus, etc as symbols of "Mexicanness"
2. Humor - comedy as was of keeping an audience engaged, and the corollary, Why is it the artist's role to engage the audience? Why do we expect so little from the audience? What does that say about the "common (wo)man"?
3. Public Space - How do we define the "public"? Where is the line between public and private?
I immediately associated cabaret with a red windmill, and Lautrec posters. However, "Contemporary Mexican Political Cabaret" by Gaston A. Alzate distances itself from that sphere, and opens a portal of political satire, and humor; something I believe most don't associate with the cabaret. Alzate, elaborates on the artists message as breaking to societal norms placed amongst us, queer is no longer limited to a sexual orientation, "in this research queerness is not just a synonym for gay and lesbian subalternities because cabaret performances impact and attract more than the gay or queer sector of Mexican society. The queerness and queering they produce within the dramatic text of Mexican culture is their deviation from or perversion of the sexual norm as part of the fragmentation that this culture experiences today." (Pg. 64) In fact, these multifaceted artists aren't simply against the gender specific roles that the Mexican government has instilled in them, they go against most political issues, in a way that is most often appeasing to an audience--through humor. Sometimes a greater impact can be made on an audience by using humor as opposed to a very dramatic demeanor, because it requires more of a thought process. We hear it all the time, a friend could make a rude comment, and completely disregard it by adding a "just kidding." Also, Alzate states that, "...that it is meaningless to talk in general about “lesbians,“gays,” “women,” or any other gender group because subjectivities consist of many complex cultural factors" yes, sometimes it is simply easier for a "straight" person to understand and feel more comfortable with a "gay" person if it is in a humorous manner (which may be applicable to other subject matter, not just sexuality). So why not use this facet as a form of political activism and art? Performance art should not be limited to anyone with a different sexual orientation, skin color, or sex.
In “Dramaturgy, Citizenship, and Queerness: Contemporary Mexican Political Cabaret”, Gastón A. Alzate expands and provides further information in regards to the Contemporary Mexican Cabaret along with a focus towards its arts and its influence towards Mexican society. According to the Merriam-Webster dictionary, the word “cabaret” is an entertainment held in a nightclub while the audience eats or drinks at tables. Contrary to the definition of a “cabaret”, the Mexican political cabaret not only provides shows and entertainment to its audience, it allows the audience to be interactive with the performers in terms of expressing their beliefs based on the controversial topics that are brought on stage: “Because of the nature of cabaret, people in the audience can directly intervene by shouting out their disagreement with the artists or by clapping or making comments when they agree, which results in a highly vivid theatrical experience” (72). Although Alzate states that the Mexican political cabaret is a theatre that “…is a heterogeneous cultural movement whose defining characteristic is humor as a means for reflecting on the multiple manifestations of exclusion in the contemporary Mexico (political due to a corrupt system, cultural, as in the case of indigenous peoples, economic, due to increasing social inequality, and gender-related, as pertaining to the role of women and sexual minorities)” (62), he only limits this perception through three artists (Jesusa Rodríguez, Astrid Hadad, and Tito Vasconcelos), one group (Las Reinas Chulas), and other contemporary groups that he briefly touches upon.
As I was reading, I felt that most of the Mexican political cabarets that the author mentioned were geared more towards the controversy of gender and sexual identity in Mexico, especially in the cases of Astrid Hadad and Tito Vasconcelos. Jesusa Rodríguez, on the other hand, was the only artist that I felt that was truly utilizing the cabaret shows to express her political beliefs with the audience and also actively participating with ordinary citizens in terms of protests and actions. One question that came into mind was Rodríguez’s performance as Sor Juana; why would the artist impersonate an important female figure with something that goes against in what the figure believes in? (Referencing to page 65 when the artist dresses as Sor Juana at the Pride March).
Sor Juana is a strong feminist character in Mexican history, since she defied the masculine authority that surrounded her. And, the gossip is that she was a lesbian -she supposedly had an affair with a wife of the viceroy.
The article by Gaston A. Alzate presents an overview of Contemporary Mexican Cabaret. These performances are executed by actors and directors who challenge the status quo of the nation. They also question the identity of Mexico, as it relates to its precolonial and post colonial antecedents. An example of this is a performance by Jesus Rodriguez dressing as the precolonial mother of Mexico, Coatlicue, and suddenly transforming to the contemporary equivalent, a presidential candidate to rule over the nation. This brings the reconsideration of gender roles as seen in this example. A woman as president in Mexico seems unlikely but how could this be if Mexico used to worship a female. Alzate brings up another interesting point about Mexico's past: "In Mexico's official culture indigenous cultures have been frozen in a grandiose past while the rights of their bearers are flagrantly ignited" (65). In contemporary times, the indigenous people are not as exalted as the myth that Mexico prides itself of. Mexican culture seems to contradict itself in both cases, as addressed by these performers. I'm curious as to how the Mexican government reacts to the more political performers, and those who question Mexican culture. I am also left wondering how many people in Mexico are aware of these cabarets and how many people it reaches. These are very important points that these performers point out. They should be considered by the government and cultural producers in order to move the nation forward with a clearer voice as to what the culture of Mexico is... Or should it be left "fragmented"?
"In contemporary times, the indigenous people are not as exalted as the myth that Mexico prides itself of. " Claudia, this is so important, and comes up again and again in Mexican history. It is a concern that even ignited, in part, the Mexican Revolution. How can we reconcile this grand past with contemporary treatment of indigenous peoples in Mexico?
Contemporary Mexican Political Cabaret is an art style related to theatre. It demands close interaction with the audience. It's defining characteristic is humor excluded in Mexico in which politically is due to a corrupt system and culturally is due to as in the case of indigeneous peoples and economically is due to increasingly social inequality and gender related as pertaining to the role of woman and sexual minorities. All these reasons provide complaints related to Mexican political authority. Basically, there are four different performers as: Jesuaa Rodriguez, Astrid Hadid, Tito Vasconcelos,and Las Reinas Chulus. All were good examples of queer Caberet but I selected one because I loved Astrid Hadad's type pop character as female ranchera singer. Her La Multimamada (The Multisuck, 1995) in which she appeared in a traditional Mexican dress covered with plastic breasts representing the motherland, she said, "I feel like the true image of the Mexican Republic: all fucked up." In this, she uses such strong visual language in which she metaphorically shows the state of a corrupt government. I feel a sense of despair as the government stands in a state of decay over bad morals and lack of order, etc. And, this corrupt government refuses to accept queerness as a ligitimate perception of the Mexican reality thereby marginalizing them.
"Made in Mexico"
So, my question is, how do Mexican women feel about the statement "Made in Mexico" mean to them?
This is the draft. I didn't save the final version.
Dramaturgy, Citizenship, and Queerness by Gaston Alzate opened with the framework and character of the genre. Mexican political cabaret is Nurtured by Teatro de Carpa, Revista, German cabaret, American stand-up comedy, opera, film iconography, and clown technique. According to Alzate, a majority of the artists contest the principal models on gender and sexuality. The editorial conferred information about the shows and partakers that proferred public prominence to the category and introduced evocative artistes. Alzate confines the examination to cabaret of a cultural and theatrical nature whose faction is ardent to the present. Cabaret met it’s peak during the 1920s and 1930s only to virtually disappear in the 1960s. For Alzate, its most distinctive attribute is it’s desire to be inclusive and the most imperative quality is it’s civil disobedience in addition to it’s resistance. The fame of cabaret as per the paper is the contemporaneous function of unconventional dramaturgy, political derision and the queering of Mexican record and it’s sovereignty. The queerness and queering cabaret produce within the dramatic text of Mexican culture is their deviation from or perversion of the sexual norm as part of the fragmentation that this culture experiences today. Cabaret performances affect more than the gay or queer sector of Mexican society. In the piece, Alzate keeps to those with a theatrical exploration of reality and a political purpose. Alzate understood the presence as a symbolic resistance to the political climate of the 1980s. Political cabaret question the social and political status quo. Cabaret is seen as the catalyst for the taboo and diminished by the prevailing dialogue entertained by the media and institutions. Dominant subject matter includes the connection between government abuse and violence against women. The setting utilizes humor as a means for social criticism. Cabaret components consist of improvisation, female personas, nationalistic iconography, comedy and music. A cousin to theater, Cabaret sketches are directly guided by current events and the intervening of spectators. Political cabaret is takes risks, poses questions and explores boundaries. Sections are divided up into his expulsions on queer theory, the notable participants and a synopsis of the discipline. A considerable portion of Alzate’s interpretation was bestowed to cabaret collaborators and companies such as Jesusa Rodriguez, Astrid Hadad, Tito Vasconcelos, Leticia Pedrajo and cabaret collectives like La Chinga and Genero Menor. Much of Mexican cabaret presented served as an alternative interpretation of colonial and present times featured critiques of the feminine role as well as mocked the social, sexual and political relationships in Mexico. The conclusion, cabaret surpasses political criticism to tackle the structures, constructions and social concerns that bear on each day. Cabaret’s features allocates the ability to raise issues like gender conceptions, religion and abuse of power.
In Alzate’s view, “There is no reason for dismissing Mexican cabaret as a minor genre. Cabaret must be understood as an artistic exploration of no hegemonic cultural codes. Mexican cabaret as a dramatic text of the culture calls into question nationalistic collective models, and its unique “outsider” position allows it to propose alternatives to the uniform cultural production of subjectivities and sexualities. In doing so, it calls attention to the fragmentation and multiplicity of Mexican reality and especially to the need for nondogmatic and queer perceptions of it.” Prior to the reading, I had no concept of Cabaret. I am of the same opinion as the extensive citation. Like Alzate, I concur that Cabaret merits an equitable rank over an inferior standing amongst it’s counterparts of the stage.
I found this article really fascinating because I never thought of someone using Cabaret in such a political manner. Although I am not quite familiar with the art of Cabaret, I am aware that it is something enjoyed more on the “fringes” on society and definitely has some sort of social commentary involved in it.
ReplyDeleteWhat separates these “performances” from traditional theatre or Cabaret is their reliance on themselves as the mise-en-scene of the show. Like a performance artist, these actors and actresses rely heavily on their own body to convey their message. Even in the most extreme and comical ways, such as Astrid Hadad’s outrageous costumes. However, her outfits merely serve as a platform for historical references, political and social critiques. The quote “One’s perception of one’s body, however, is dependent upon individual social and historical experience”, affirm the use of her body as the performance. These events have defined her body, and other people’s bodies, especially women. Therefore, provoking feminist and queer ideologies.
“Queerness is not just a synonym for gay and lesbian subalternities because cabaret performances impact and attract more than the gay or queer sector of Mexican society. The queerness and queering they produce within the dramatic text of Mexican culture is their deviation from or perversion of the sexual norm as part of the fragmentation that this culture experiences today.” This quote is significant, because it represents what wasn’t represented enough in our readings about the collective groups. Maris Bustamante and others touched on this, but now there is a venue, literally, for artists to
critique femininity and queerness in Mexican Culture. Through the exploration and deviation of semiotics and linguistics in contemporary Mexico, a dialogue is opened up between the performer and the audience, educating them and evoking a sense of activism within them.
I agree with your thoughts on the political cabaret of Mexico. My question is do you think that these performers would be able to get away so easily with criticizing their government and political figures if it were not for the outlandish humorous nature of the performances?
DeleteGiven the venues they chose to do these performances, I think they wouldn't have a problem. But even Proceso Pentagono was criticizing the government out in the streets and they got away with it. I think the use of these outlandish performances isn't to "get away" with criticizing the government, but rather to engage and educate audiences in a new and creative way.
DeleteI think you both make valid points. For example, when I think about Justin's question, contemporary US shows like The Daily Show or the Colbert Report (or even SNL) come to mind. Sometimes, it seems, critique is permissible if humor is the medium.
DeleteThen again, as Matthew points out, humor also functions as a way to engage the audience, perhaps an audience who might not be otherwise politically-inclined.
This article is very enlightening and gives the term "cabaret" a much more in depth and profoundly critical dimension of which I had no idea it contained. I would have thought cabaret to be a show of dancing loose women performing for their male audience, I was wrong. Superficially cabaret may appear to be an outsider theater type of production but intertwined with these performances there is a very critical social political commentary.
ReplyDeleteCabaret unlike theater is a constantly changing thing. The performers use their improvisational skill and body's to comment on both the current events of the country and also of past historical events. Normally something like this would cause for government censorship or similar action, but the humor of the show and audience interaction acts as a catalyst. Great skill is displayed by the writers and performers in the sense of constantly changing appearance and content of dialogues and songs to fit the current events of which they are trying to bring attention to. This is called critical citizenship or Mexican neoliberalism.
The queerness is not just a reference to sexuality of individuals but also of the fractured fragmented society in which Mexicans find themselves in today. This queer vessel acts as an educative force for the audience as they are welcomed to be outspoken in their opinions of the subject matter of the show. This dialogue between the performers and audience is also what sets cabaret apart from traditional theater, in other words cabaret is a living art form.
Cabaret is much more than meets the eye "political cabaret takes risks and poses formal and ideological questions both of which are fundamental traits of any artistic movement" p.64. This quote resounds in my head because it goes to show the power of art to go past the traditional aesthetics of performance art and is much more collaborative and educational on many levels that take the shape of strange humorous shows made for the everyday joe living in Mexico.
I wonder if cabaret is more successful (depends on how we define success, of course - here, I mean it as provoking a change in the ideas or perspectives of the audience) than traditional art forms like painting and sculpture, since it functions more like traditional popular entertainment. Do you think Astrid Hadad has more sway than Michelangelo or Diego Rivera?
DeleteGaston Alzates “Dramaturgy,citizenship and Queerness” explores contemporary Mexican cabaret and how its deeply rooted in the political issues that plague the Mexican people. The mexican cabaret aimed to change and challenge the collective norm, while also providing the audience with an alternative story. As Alzates states “it calls attention to the fragmentation and multiplicity of Mexican reality and especially to the need for nondogmatic and queer perceptions of it.” (Alzate,62). The complex history of Mexico has left the mexican people with a faux sense of collectiveness. A common struggle we come across through mexican art history is that of defining the “history of Mexico.” Each person has their own unique definition of what it means to be mexican. These performers uses an artistic platform to define their mexican history.
ReplyDeleteAlzatles gives the example of performer Astrid Hadad who uses comedy to poke fun at social and political issue.Hadad uses visual, costumes and music as a part of her performance to convey issues of mexico in the past and present. “In the same way that there was a resemanticization of the European Christian icons in the Latin American Baroque, Hadad’s performances queer the traditional and contemporary emblems and icons of mexican culture. Through the use of mystical and profane elements, her cabaret shows the history of her lesbian body, the history of a multiple, diverse, and fragmented self- in other words, the history of Mexico.” ( Alzatles, 69) Despite these performances carrying a political agenda it is quite clear that they deal with personal issue that rely heavily on the body and sexaultiy. This brings up the theme of the “personal is political.” The personal “problems” are in fact political. These artist are using personal issue in their cabaret performances as a way to convey this message to a larger audience. I couldn't help but think of Regina Gallindo while I was reading this, i understand the obvious differences between the works of Gallindo and the cabaret performances mention in this reading but essentially these artist all share a common theme.
I'm glad you raised this question of "mexican-ness" or what it means to be Mexican. We need to discuss this further in class. Are identity politics still important in Mexico today?
DeleteI also think we should talk more about the similarities you see between Hadad's and Galindo's work. As you mention, the style - or perhaps the visual impact - are different and likely come out of different artistic traditions, but what is it that links them?
Contemporary Mexican Political Cabaret by Gaston A. Alzate presents an idea that cabaret is utilized as a tool to playfully express distaste within the current Mexican culture. A surprising contrast to last week’s readings since the article goes on to describe in detail the way these cabaret performances subvert and critique the Mexican government by highlighting topics “excluded or minimized by dominant discourses.” (Pg.63) The way Alzate describes Tito Vasconcelos’s work as not only pulling from “popular culture, advertising and TV programs” as well as requiring his performers to read current newspapers and “adapt their roles accordingly,”(pg. 69) brought to mind a musical version of The Daily Show, a popular nightly critique of current headlines presented in a humorous way to point out painful irony that exists in our daily lives. These small theaters seem to be a haven for political and social criticism in a way the grupos never found, even when they infiltrated museums or biennials.
ReplyDeleteWhat I found interesting was the repeated personification of Mexico in these cabaret performances to dissemble the embedded colonialism, Catholicism and symbolism (the dreaded “isms”) that plague the “queered” population of Mexico. My favorite personification is Hadad’s costume in La multimamada in “which she appeared in traditional Mexican dress covered with plastic breasts representing the motherland.” She says “I feel like the true image of the Mexican Republic: all fucked up.” (pg. 68) As if by inhabiting Mexico What is also interesting to me is the theme of neo-liberalism Las Reinas Chulas use to inform their work. A set of values that highlights the individual and individual gain utilizing an U.S. model of capitalism, usually by negating the work of the community, brought to light in such community based work. While some cabaret performance seems to take issue with the myths and history of Mexico, Las Reinas embraces it and tries to reclaim it in a way that brings to light how neo-liberalist practices can corrupt a society.
As with the majority of the readings for the class, my question is always: how does it help or should it have to help? I think in this particular context, the fact that there is such a place for flamboyant yet thought provoking performance work is a step in the right direction.
How funny! Whenever I think about Mexican cabaret, I always think of the Daily Show as well, obviously for its reliance on humor as the channel for contemporary social and political criticism.
DeleteI'm glad you've brought up the capitalism question, since we'll be discussing others artists who have similar concerns next week.
I wonder, if, particularly when we think about this return to valuing collective work (as with Las Reinas Chulas) there is a nod to the road paved by Los Grupos in the 70s.
Contemporary Mexican Political Cabaret by Gaston A. Alzate gives some perspective on the political awareness that cabarets create in Mexico. There is this idea of combining comical, whimsical, circus like acts when exhibiting significant events/political messages in Mexico. Alzate describes Mexican Cabaret accordingly, "the Political cabaret thus provides a communal symbolic space for reconstructing a symbolic order that is multiple, complex, critical, highly enjoyable, and attuned to Mexican reality" (Alzate, 75). The artist take a humorous approach to reflect the injustices done to the Mexican people and to Mexico. Many cabarets take place in public spaces making audience participation an important part of the performance. The public performances create awareness to the message being expressed by the performers. I feel this is a unique yet successful approach to the main goals of many of the artists. It seems that the audience would be more receptive to the message if there were less seriousness to the delivery. Cabarets are entertaining and may keep the audience engaged for a longer period of time in turn causing the audience to reflect on what is really being communicated.
ReplyDeleteMany of the performances incorporate popular iconic images of Mexican culture such as the cactus and the eagle. This can be seen in many of Astrid Hadad's performances where she utilizes many iconic symbols of Mexican culture. Hadad also incorporates the popular style of singing known as ranchera, which is graceless almost vulgar in many cases, but extremely well known in Mexico. Hadad is an ideal representation of Mexican Cabaret. Her costumes, singing, and props all portray an array of serious political messages in a straightforward, amusing fashion. The question of how Mexican Political Cabaret is intended to change the injustices of the country is important to contemplate. I believe the idea is to not create change, but to create awareness amongst the Mexican People. Contemporary Mexican Political Cabaret is also a representation of the frustrations many of the performers deal with in regards to the unjustness of their people and their country.
You bring up three topics I'd like us to discuss further tomorrow:
Delete1. Symbolism - eagles, cactus, etc as symbols of "Mexicanness"
2. Humor - comedy as was of keeping an audience engaged, and the corollary, Why is it the artist's role to engage the audience? Why do we expect so little from the audience? What does that say about the "common (wo)man"?
3. Public Space - How do we define the "public"? Where is the line between public and private?
I immediately associated cabaret with a red windmill, and Lautrec posters. However, "Contemporary Mexican Political Cabaret" by Gaston A. Alzate distances itself from that sphere, and opens a portal of political satire, and humor; something I believe most don't associate with the cabaret. Alzate, elaborates on the artists message as breaking to societal norms placed amongst us, queer is no longer limited to a sexual orientation, "in this research queerness is not just a synonym for gay and lesbian subalternities because cabaret performances impact and
ReplyDeleteattract more than the gay or queer sector of Mexican society. The queerness and queering they produce within the dramatic text of Mexican culture is their deviation from or perversion of the sexual norm as part of the fragmentation that this culture experiences today." (Pg. 64) In fact, these multifaceted artists aren't simply against the gender specific roles that the Mexican government has instilled in them, they go against most political issues, in a way that is most often appeasing to an audience--through humor. Sometimes a greater impact can be made on an audience by using humor as opposed to a very dramatic demeanor, because it requires more of a thought process. We hear it all the time, a friend could make a rude comment, and completely disregard it by adding a "just kidding." Also, Alzate states that, "...that it is meaningless to talk in general about “lesbians,“gays,” “women,” or any other gender group because subjectivities consist of many complex cultural factors" yes, sometimes it is simply easier for a "straight" person to understand and feel more comfortable with a "gay" person if it is in a humorous manner (which may be applicable to other subject matter, not just sexuality). So why not use this facet as a form of political activism and art? Performance art should not be limited to anyone with a different sexual orientation, skin color, or sex.
Why don't we talk more (Why aren't more people talking) about gender and sexuality?
DeleteIn “Dramaturgy, Citizenship, and Queerness: Contemporary Mexican Political Cabaret”, Gastón A. Alzate expands and provides further information in regards to the Contemporary Mexican Cabaret along with a focus towards its arts and its influence towards Mexican society. According to the Merriam-Webster dictionary, the word “cabaret” is an entertainment held in a nightclub while the audience eats or drinks at tables. Contrary to the definition of a “cabaret”, the Mexican political cabaret not only provides shows and entertainment to its audience, it allows the audience to be interactive with the performers in terms of expressing their beliefs based on the controversial topics that are brought on stage: “Because of the nature of cabaret, people in the audience can directly intervene by shouting out their disagreement with the artists or by clapping or making comments when they agree, which results in a highly vivid theatrical experience” (72). Although Alzate states that the Mexican political cabaret is a theatre that “…is a heterogeneous cultural movement whose defining characteristic is humor as a means for reflecting on the multiple manifestations of exclusion in the contemporary Mexico (political due to a corrupt system, cultural, as in the case of indigenous peoples, economic, due to increasing social inequality, and gender-related, as pertaining to the role of women and sexual minorities)” (62), he only limits this perception through three artists (Jesusa Rodríguez, Astrid Hadad, and Tito Vasconcelos), one group (Las Reinas Chulas), and other contemporary groups that he briefly touches upon.
ReplyDeleteAs I was reading, I felt that most of the Mexican political cabarets that the author mentioned were geared more towards the controversy of gender and sexual identity in Mexico, especially in the cases of Astrid Hadad and Tito Vasconcelos. Jesusa Rodríguez, on the other hand, was the only artist that I felt that was truly utilizing the cabaret shows to express her political beliefs with the audience and also actively participating with ordinary citizens in terms of protests and actions. One question that came into mind was Rodríguez’s performance as Sor Juana; why would the artist impersonate an important female figure with something that goes against in what the figure believes in? (Referencing to page 65 when the artist dresses as Sor Juana at the Pride March).
Sor Juana is a strong feminist character in Mexican history, since she defied the masculine authority that surrounded her. And, the gossip is that she was a lesbian -she supposedly had an affair with a wife of the viceroy.
DeleteThe article by Gaston A. Alzate presents an overview of Contemporary Mexican Cabaret. These performances are executed by actors and directors who challenge the status quo of the nation. They also question the identity of Mexico, as it relates to its precolonial and post colonial antecedents. An example of this is a performance by Jesus Rodriguez dressing as the precolonial mother of Mexico, Coatlicue, and suddenly transforming to the contemporary equivalent, a presidential candidate to rule over the nation. This brings the reconsideration of gender roles as seen in this example. A woman as president in Mexico seems unlikely but how could this be if Mexico used to worship a female. Alzate brings up another interesting point about Mexico's past: "In Mexico's official culture indigenous cultures have been frozen in a grandiose past while the rights of their bearers are flagrantly ignited" (65). In contemporary times, the indigenous people are not as exalted as the myth that Mexico prides itself of. Mexican culture seems to contradict itself in both cases, as addressed by these performers. I'm curious as to how the Mexican government reacts to the more political performers, and those who question Mexican culture. I am also left wondering how many people in Mexico are aware of these cabarets and how many people it reaches. These are very important points that these performers point out. They should be considered by the government and cultural producers in order to move the nation forward with a clearer voice as to what the culture of Mexico is... Or should it be left "fragmented"?
ReplyDelete"In contemporary times, the indigenous people are not as exalted as the myth that Mexico prides itself of. "
DeleteClaudia, this is so important, and comes up again and again in Mexican history. It is a concern that even ignited, in part, the Mexican Revolution. How can we reconcile this grand past with contemporary treatment of indigenous peoples in Mexico?
Testing for linda
ReplyDeleteContemporary Mexican Political Cabaret is an art style related to theatre. It demands close interaction with the audience. It's defining characteristic is humor excluded in Mexico in which politically is due to a corrupt system and culturally is due to as in the case of indigeneous peoples and economically is due to increasingly social inequality and gender related as pertaining to the role of woman and sexual minorities. All these reasons provide complaints related to Mexican political authority. Basically, there are four different performers as: Jesuaa Rodriguez, Astrid Hadid, Tito Vasconcelos,and Las Reinas Chulus. All were good examples of queer Caberet but I selected one because I loved Astrid Hadad's type pop character as female ranchera singer. Her La Multimamada (The Multisuck, 1995) in which she appeared in a traditional Mexican dress covered with plastic breasts representing the motherland, she said, "I feel like the true image of the Mexican Republic: all fucked up." In this, she uses such strong visual language in which she metaphorically shows the state of a corrupt government. I feel a sense of despair as the government stands in a state of decay over bad morals and lack of order, etc. And, this corrupt government refuses to accept queerness as a ligitimate perception of the Mexican reality thereby marginalizing them.
ReplyDelete"Made in Mexico"
So, my question is, how do Mexican women feel about the statement "Made in Mexico" mean to them?
Where is my post? Did someone accidentally delete it? It posted it last night before Claudia.
ReplyDeleteThis is the draft. I didn't save the final version.
ReplyDeleteDramaturgy, Citizenship, and Queerness by Gaston Alzate opened with the framework and character of the genre. Mexican political cabaret is Nurtured by Teatro de Carpa, Revista, German cabaret, American stand-up comedy, opera, film iconography,
and clown technique. According to Alzate, a majority of the artists contest the principal models on gender and sexuality. The editorial conferred information about the shows and partakers that proferred public prominence to the category and introduced evocative artistes. Alzate confines the examination to cabaret of a cultural and theatrical nature whose faction is ardent to the present. Cabaret met it’s peak during the 1920s and 1930s only to virtually disappear in the 1960s. For Alzate, its most distinctive attribute is it’s desire to be inclusive and the most imperative quality is it’s civil disobedience in addition to it’s resistance. The fame of cabaret as per the paper is the contemporaneous function of unconventional dramaturgy, political derision and the queering of Mexican record and it’s sovereignty. The queerness and queering cabaret produce within the dramatic text of Mexican culture is their deviation from or perversion of the sexual norm as part of the fragmentation that this culture experiences today. Cabaret performances affect more than the gay or queer sector of Mexican society. In the piece, Alzate keeps to those with a theatrical exploration of reality and a political purpose. Alzate understood the presence as a symbolic resistance to the political climate of the 1980s. Political cabaret question the social and political status quo. Cabaret is seen as the catalyst for the taboo and diminished by the prevailing dialogue entertained by the media and institutions. Dominant subject matter includes the connection between government abuse and violence against women. The setting utilizes humor as a means for social criticism. Cabaret components consist of improvisation, female personas, nationalistic iconography, comedy and music. A cousin to theater, Cabaret sketches are directly guided by current events and the intervening of spectators. Political cabaret is takes risks, poses questions and explores boundaries. Sections are divided up into his expulsions on queer theory, the notable participants and a synopsis of the discipline. A considerable portion of Alzate’s interpretation was bestowed to cabaret collaborators and companies such as Jesusa Rodriguez, Astrid Hadad, Tito Vasconcelos, Leticia Pedrajo and cabaret collectives like La Chinga and Genero Menor. Much of Mexican cabaret presented served as an alternative interpretation of colonial and present times featured critiques of the feminine role as well as mocked the social, sexual and political relationships in Mexico. The conclusion, cabaret surpasses political criticism to tackle the structures, constructions and social concerns that bear on each day. Cabaret’s features allocates the ability to raise issues like gender conceptions, religion and abuse of power.
In Alzate’s view, “There is no reason for dismissing Mexican cabaret as a minor genre. Cabaret must be understood as an artistic exploration of no hegemonic cultural codes. Mexican cabaret as a dramatic text of the culture
calls into question nationalistic collective models, and its unique “outsider”
position allows it to propose alternatives to the uniform cultural
production of subjectivities and sexualities. In doing so, it calls attention to the
fragmentation and multiplicity of Mexican reality and especially to the need
for nondogmatic and queer perceptions of it.”
Prior to the reading, I had no concept of Cabaret. I am of the same opinion as the extensive citation. Like Alzate, I concur that Cabaret merits an equitable rank over an inferior standing amongst it’s counterparts of the stage.