tag:blogger.com,1999:blog-29331038459939597872024-03-05T15:11:48.748-05:00 The Panza Monologues BlogThe Panza Monologues is an original solo performance piece based on women's stories about their panzas.The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-2933103845993959787.post-57243104407018741462017-04-22T07:42:00.000-04:002017-04-22T07:45:46.427-04:00Pedagogy of the Panza: Featuring Adrianna M. Santos<style>
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<span style="font-family: "verdana" , sans-serif;"><i>Each and every time we learn of a teacher, activist, scholar, artist, professor, organizer, coordinator, or facilitator who is or has used </i>The Panza Monologues<i> as a teaching tool, we are extremely gratified and thankful. Our second edition of the play in publication was specifically conceived of and designed to help facilitate its use in classrooms of all kinds. In the second edition, we specifically included numerous kinds of materials to accompany the script in order to inspire its use as a wide-reaching teaching tool.<o:p></o:p></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i>Our blog series "Pedagogy of the Panza" celebrates and profiles teachers and their innovative instruction using </i><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues, Second Edition.</a><i> These posts showcase important, determined, and ingenious teachers of all kinds who are taking our work to the next level of its manifestation. Are you using </i><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues, Second Edition</a><i> in your classroom? We’d love to hear your story – contact us! panzapower@gmail.com</i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span> <span style="font-family: "verdana" , sans-serif;"><b>Name: </b></span><span style="font-family: "verdana" , sans-serif;">Adrianna M. Santos<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Dr. Adrianna M. Santos</td></tr>
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<span style="font-family: "verdana" , sans-serif;"><b>Hometown:</b> </span><span style="font-family: "verdana" , sans-serif;">San Anto, Tejas, born and raised.</span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Where do you teach?</b> </span><br />
<span style="font-family: "verdana" , sans-serif;">I am an Assistant Professor of English at Texas A&M University-San Antonio.<o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;">Over the years, I have taught <i>The Panza Monologues</i> on several occasions. First, in a Multiethnic Literature of the United States – an upper division survey. Next, I taught the play in an Introduction to Advanced Literature course which I subtitled Chicana/o literature and culture. I then assigned the material in a graduate class called Tejan@ Narratives. Most recently, I developed a new class for the program called Latinx Literature – an upper division course – and taught the play in class while I also directed a student production that was open to both the campus community and the public at large. About half my class showed up to the performance in support. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Why did you choose to teach <i>The Panza Monologues </i>in your class? </b></span><br />
<span style="font-family: "verdana" , sans-serif;">I choose to teach <i>The Panza Monologues </i>in my classes for several reasons. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">First and foremost, I teach <i>The Panza Monologues</i> because the material resonates with our student population. As the youngest institute of higher learning in San Antonio, the fastest growing in the state of Texas, and the only university on the Southside, the institution has the potential to enrich the community of primarily low-income, Mexican American residents who have been historically neglected. While both economically and educationally underserved, this community has persevered. I am proud to say that my mother’s family still lives and works and love and dies on the Southside and it is a big part of my life’s mission to contribute to bringing culturally relevant education, art, and organization to this community. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">For my students, primarily Mexican origin, first generation college students, the content rings true. In no other place have they seen their experiences represented so clearly – from the site-specific descriptions of local eateries and gathering places, celebrations and market places, to the visceral descriptions of savory dishes and effortless Tex-Mex colloquialisms that are distinctive to the city and its residents, to the gut-wrenching testimonies of love, loss, hope and strength – my students get all the feels. Many of them (about 70 percent) are the first in their families to attend college and the majority are of Mexican descent. Most of them hail from San Antonio originally and because it is the most affordable university in town, it attracts a population who may not otherwise be able to afford higher education. This is not to say that attendance is cheap.</span><br />
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<tr><td class="tr-caption" style="text-align: center;">Dr. Santos directs her students in a production of The Panza<br />
Monologues at Texas A&M University-San Antonio,<br />
October 2016</td></tr>
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<span style="font-family: "verdana" , sans-serif;">Most of them work at least part-time and benefit from financial aid packages reserved for low-income students in order to finance their education. A large number of them are bilingual, fluent in both Spanish and English, though they have been primarily educated in English while they speak Spanish at home and with friends. As I mentioned earlier, they often come from underserved communities and under-resourced schools. There is a relatively large veteran population (15 percent) as well as a significant number of students from nearby rural areas. According to a preliminary study by a small contingent of faculty members, about three-quarters of the student population is food insecure. Fortunately, that group of dedicated faculty and some hard-working staff have recently addressed this concern by opening a campus food bank which launched in the Spring semester, 2017. Many of my students work full time, are raising children, are taking care of elderly and/or ailing family members, and/or are dealing with physical and mental health issues, all while learning to navigate higher education. They speak about these challenges in the classroom when given the opportunity. And I make it a point to give them this opportunity – especially because when they are affirmed in the fact that they are not alone, they are more likely to keep moving forward and find avenues of support that will get them to the commencement stage. <o:p></o:p></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Students perform <i>The Panza Monologues </i>at <br />Texas A&M University-San Antonio, October 2016, directed by<br />Dr. Adrianna M. Santos</span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: 12pt;">Second, </span><i style="font-family: verdana, sans-serif; font-size: 12pt;">The Panza Monologues </i><span style="font-family: "verdana" , sans-serif; font-size: 12pt;">gives voice to the mujeres who are at the center of the Latinx community in San Anto. Women’s rights are human rights and the themes presented in this production speak to both the adversity and the fortitude of marginalized peoples, particularly women. Reproductive justice issues are central to my research and teaching because recent cuts in funding to Planned Parenthood have grossly limited women’s access to healthcare, and the material can be read in the context of the consequences of public health being directed by a myopic legislature. The Guardian recently reported that Texas has the highest maternal mortality rate in the developing world. Moreover, San Antonio is one of the most segregated cities in the United States, marked by extreme income equality that separates privilege from poverty. Gentrification is becoming the narrative of the city as many families who have lived in certain areas for generations are being forced out by rising housing costs and “improvement” plans.</span></div>
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<span style="font-family: "verdana" , sans-serif;">Last, I chose this piece because it strikes a delicate balance between pointed social commentary and light-hearted introspection. The monologues are relatable because they tell the stories of real women whose lives are filled with laughter and tragedy, frivolity and hard labor, flexibility and endurance. When students read The Panza Monologues, they are surprised to find that their stories have been committed to the page. They are shocked that they have never heard of it before. The content resonates so strongly with them, they often laugh raucously, cry tears of empathy, often talking back to the screen when we watch the performance DVD. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>How did you teach <i>The Panza Monologues</i> (any fun or meaningful activities or panza teaching tools you want to share)?</b></span></div>
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<span style="font-family: "verdana" , sans-serif;">In all the courses I have taught this text, I assigned the full script, plus parts of the second edition. First, they write response papers. They read the script and the autogeographies prior to the screening and then we discuss individual monologues in class. Sometimes I assign them a creative project – to write their own monologues. Students have written about miscarriages, love affairs, death of loved ones, spiritual beliefs, and more. Finally, they perform monologues for the class. Some of them have seen or participated in the University’s annual production of <i>The Vagina Monologues. </i>They have two questions when they hear the title of the work – “Is that like <i>Vagina Monologues?”</i> and, “Why do they spell pansa with a z?” (Both of these questions are answered in the monologues, by the way.) When I directed a student production of <i>The Panza Monologues</i> in our auditorium, some of the questions I asked myself included: What does it mean to stage the play in the city of its inception? What does it mean to do this on the Southside, a historically Mexican-American and economically neglected area of town? Moreover, what are the implications of producing it at the city’s first four-year institution that caters primarily to first-generation, Mexican origin students, the majority of whom are also women? (Those percentages, respectively are roughly 71%, 66%, and 67%). What does it mean to do this without the support of either a Mexican American Studies Center, or Drama Program? How was the play transformational for the performers and the audience? What potentials does the performance have to push boundaries and awaken performers and audience members to the importance of telling women’s stories? It was an awesome experience for me, the students, the crew, and dare I say, the audience.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><br /></b></span> <span style="font-family: "verdana" , sans-serif;"><b>Why is <i>The Panza Monologues</i> important to your field of study? What </b></span><br />
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<span style="font-family: "verdana" , sans-serif;">This performance piece is crucial to the examination of Latinx and women’s theatre as well as the larger concerns of social justice literature. <i>The Panza Monologues </i>is a vital chapter in the narrative of San Anto. The way it came to fruition through stories and collaboration is an example of the kind of collective effort it often takes to bring about visibility and social progress. <o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;">The links between public health, women’s labor, reproductive justice, poverty, and self-love are always the most salient for my students. Almost all of them write about “My Sister’s Panza” and “Praying” as the monologues that affected them the most. Each of those monologues has to do with some type of violence being enacted upon the body. <o:p></o:p></span></div>
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<b><span style="font-family: "verdana" , sans-serif;">What did you learn about your teaching or about your students from teaching <i>The Panza </i></span><span style="font-family: "verdana" , sans-serif; font-size: 12pt;"><i>Monologues?</i></span></b></div>
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<span style="font-family: "verdana" , sans-serif;">I learn from my students every day that I am privileged to share space with them in the classroom. Teaching <i>The Panza Monologues </i>has afforded me the unique opportunity to learn even more about my hometown. As much as I adore the play, and as much as I relate to its content, there is always someone in class who can illuminate some aspect of the material for me and challenge me to shift my perception of the written word. Each time I return to the script with a new group of students, I learn something new because my students bring their individual experiences to the material and enthusiastically engage with it. I will be teaching <i>The Panza Monologues </i>for years to come. I don’t anticipate it losing its relevance anytime soon. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Favorite quote from<i> The Panza Monologues </i>book?</b></span></div>
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<span style="font-family: "verdana" , sans-serif;">“So it was written on the bodies of Chicana heavyweights all across Aztlán. Live your life without shame. <i>¡Que viva la panza!”<o:p></o:p></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>More about Dr. Adrianna M. Santos:</b></span></div>
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<span style="font-family: "verdana" , sans-serif;"><a href="https://tamusa.digication.com/adrianna_m_santos_ph_d/Welcome/published" target="_blank">Adrianna M. Santos</a> earned a B.A. in English from the University of Texas at Austin (2002), M.A. in Chicano Studies from the University of California, Santa Barbara (2009), and Ph.D. in Chicana and Chicano Studies with an emphasis in Feminist Studies from the University of California, Santa Barbara (2014). <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">She is an Assistant Professor of English at Texas A&M University-San Antonio where she teaches classes on Latinx and Chicanx literature, multiethnic American literature, borderlands theory, and women of color feminisms. Dr. Santos is the advisor for the A&M-SA Mexican American Student Association. She has published and spoken on issues of equity for women, immigrants, and marginalized communities. Her chapter “Performing the Panza” is forthcoming in the MLA Options for Teaching Series, <i>Teaching Mexicana and Chicana Writers of the Twentieth Century.</i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">She also promotes anti-violence advocacy, having volunteered at various community centers, women’s and children’s centers and rape crisis centers. </span><o:p></o:p></div>
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<o:p><br /></o:p><o:p><br /></o:p> <o:p><br /></o:p> <o:p><span style="color: magenta; font-family: "verdana" , sans-serif;"><b>Activate you panza!</b></span></o:p></div>
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<span style="font-family: "verdana" , sans-serif;">Enjoy reading <i>The Panza Monologues, Second Edition?</i></span></div>
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<span style="font-family: "verdana" , sans-serif;">Share the love and help us out by writing reviews about <span style="color: windowtext; text-decoration: none; text-underline: none;"><i>T<a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">he Panza Monologues, Second Edition</a></i></span> on GoodReads.com, or by inviting us for an interview (print, web, radio, podcast or the like), or by writing a book review for a popular press, literary blog, or academic journal, or by encouraging others to purchase <i>The Panza Monologues, Second Edition </i>for your local library, your institution's library, or your local independent bookstore.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">And, if you teach <i>The Panza Monologues</i> - feel free to contact us about the possibility of a "Pedagogy of the Panza" feature for our blog.</span></div>
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<span style="font-family: "verdana" , sans-serif;">You can also send us a note, take a picture on social media, or tag us with #panzamonologues if you see signs of the book anywhere near you! We love to see the #panzamonologues on social media!</span></div>
<span style="font-family: "verdana" , sans-serif;"><br /><i></i></span><span style="font-family: "verdana" , sans-serif;">Don't forget, you can also buy a <a href="http://www.panzamonologues.com/#!aboutdvd/c1og9" target="_blank">DVD </a>of <i>The Panza Monologues</i> in performance.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span><span style="font-family: "verdana" , sans-serif;">Enjoyed this story? Check out other "Pedagogy of the Panza" posts in this series:</span><br />
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<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2015/12/pedagogy-of-panza-featuring-angie.html" target="_blank">Pedagogy of the Panza: Featuring Angie Chabram</a></span></span></li>
<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2014/12/pedagogy-of-panza-interview-with-trevor.html" target="_blank">Pedagogy of the Panza: Featuring Trevor Boffone</a></span></span></li>
<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2015/10/pedagogy-of-panza-featuring-carla-della_11.html" target="_blank">Pedagogy of the Panza: Featuring Carla Della Gatta</a></span></span></li>
<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2014/06/pedagogy-of-panza-featuring-irene-mata.html" target="_blank">Pedagogy of the Panza: Featuring Irene Mata</a></span></span></li>
<li><span style="background-color: white; color: #666666; font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2016/07/pedagogy-of-panza-featuring-marci-r.html" target="_blank">Pedagogy of the Panza: Featuring Marci McMahon</a></span></li>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-50435789027130494492016-07-05T12:40:00.000-04:002017-04-22T07:29:39.056-04:00Pedagogy of the Panza Featuring Marci R. McMahon<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><o:p></o:p></span><i style="background-color: white; color: #999999; font-family: verdana, sans-serif; line-height: 18.48px;">Each and every time we learn of a teacher, activist, scholar, artist, professor, organizer, coordinator, or facilitator who is or has used T</i><span style="background-color: white; color: #999999; font-family: "verdana" , sans-serif; line-height: 18.48px;">he Panza Monologues </span><i style="background-color: white; color: #999999; font-family: verdana, sans-serif; line-height: 18.48px;">as a teaching tool, we are extremely gratified and thankful. Our second edition of the play in publication was specifically conceived of and designed to help facilitate its use in classrooms of all kinds. In the second edition, we specifically included numerous kinds of materials to accompany the script in order to inspire its use as a wide-reaching teaching tool.</i><br />
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<span style="color: #999999;"><span style="font-family: "verdana" , sans-serif;"><i>Our blog series "Pedagogy of the Panza" celebrates and profiles teachers and their innovative instruction using</i> <a href="http://utpress.utexas.edu/index.php/books/gripan" style="color: #8832ff; text-decoration: none;" target="_blank">The Panza Monologues, Second Edition</a>.<i> These posts showcase important, determined, and ingenious teachers of all kinds who are taking our work to the next level of its manifestation. Are you using </i>The Panza Monologues, Second Edition<i> in your classroom? We’d love to hear your story – contact us! panzapower@gmail.com</i></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Dr. Marci R. McMahon</span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><b>Name: </b></span><span style="font-family: "verdana" , sans-serif;">Marci R. McMahon</span></div>
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<span style="font-family: "verdana" , sans-serif;"></span><b style="font-family: verdana, sans-serif;">Hometown:</b><span style="font-family: "verdana" , sans-serif;"> San Antonio, Texas (currently living in The Rio
Grande Valley in South Tejas)</span></div>
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<span style="font-family: "verdana" , sans-serif;"><i><b>Where do you teach?</b> </i></span></div>
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<span style="font-family: "verdana" , sans-serif;">University of Texas Rio Grande Valley in
the Literatures and Cultural Studies Department.</span></div>
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<b style="font-family: verdana, sans-serif;"><i>In what class/type of class did you use </i>The Panza Monologues<i>? </i></b></div>
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<span style="font-family: "verdana" , sans-serif;">ENGL 4300/MASC 4329 – Latin@ Theater for Social Action (advanced topics
English course cross-listed with special topics Mexican American Studies
course). Most of the students are upper–division English majors or minors,
with some Mexican American Studies majors.</span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why did you choose to teach </i>The Panza Monologues<i> in
your class?</i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">This was a new course I had created and taught at the
undergraduate level. The course, Latin@ Theater for Social Action, focuses on
the work of Latina/o theater artists, primarily Mexican American or Chicana/o
playwrights, who use plays and performances as vehicles for enacting social
change. The course stresses the variety of Chicana/o theater while centering on
the themes of home, familia, gender, sexuality, body politics, borders, and immigration.
I began the course with what I framed for the students as the foundational playwrights
in Chicana/o teatro. These included Luis Valdez, founder of El Teatro Campesino
and author of <i>Zoot Suit;</i> the performance-troupe Culture Clash; and prolific
Chicana feminist playwright and essayist Cherríe Moraga. By including Moraga as
a foundational playwright of Chicana/o teatro I immediately established gender,
sexuality, and the body as sites and vehicles of social change. We read her
play <i>Heroes & Saints, </i>which focuses on environmental racism and activism
through the racialized and gendered body. For the next class period, we shift to
<i>The Panza Monologues, </i>which launches the next section of the course “Performing
the Body/Space/Home.” This section also includes Laura Esparza’s <i>I DisRemember
the Alamo: A Long Poem for Performance.</i> I purposefully included two texts about
body politics, gender, and sexuality that are contextualized within the
historical and geographical space of San Antonio, Tejas so students can make
important connections between space, geography, the body, and history as
specific to San Antonio, as well as to immediately shift from the space of
California to Texas for my South Texas students who rarely see their South
Tejas stories (south of San Antonio) represented in curriculum, including in
Chicana/o studies curriculum. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-I18iz382EAmw6qiyhN_NFjJdYGd_YrFTxiajKd50kCercnHBqZjv8blxO_21jD5WBAJDw8mV3Lsh851QvExHlUegD4dVR2TlbujfTkG0442w3GWvdOLDKFTXPyBRCLoQEUupb3xK9mxQ/s1600/Lilly+Delgado+in+PM+Performance+Scene+from+Class.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-I18iz382EAmw6qiyhN_NFjJdYGd_YrFTxiajKd50kCercnHBqZjv8blxO_21jD5WBAJDw8mV3Lsh851QvExHlUegD4dVR2TlbujfTkG0442w3GWvdOLDKFTXPyBRCLoQEUupb3xK9mxQ/s400/Lilly+Delgado+in+PM+Performance+Scene+from+Class.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Lilly Delgado performs from <i>The Panza Monologues</i> <br />in <span style="text-align: justify;">ENGL 4300/MASC 4329 – Latin@ Theater for <br />Social Action</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;">The rest of the course covers theater and performance from
the last twenty years or so and includes the sections<span style="mso-spacerun: yes;"> </span>“Staging Masculinity,” which includes
Josefina López’s play <i>Trio Los Machos;</i> “Staging
Tejas History & Stories,” including Amparo García Crow’s <i>Under a Western Sky
</i>paired with blog posts in the “State of Latina/o Theater in Texas” Series from Café
Onda; and “Staging Contemporary Issues of Immigration, Race, and the Drug War,”
which includes Josefina Lopez’s <i>Detained in the Desert </i>and Tanya Saracho’s <i>El
Nogalar.</i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I concluded the course with student’s launching their own research
and performance projects in order to fill in the gaps in the history of
Chicana/o theater for social change in South Tejas, particularly in the Rio
Grande Valley. My goal for my students by the end of the course is to be
inspired and charged as advocates for Latina/o stories on the stages in the Rio
Grande Valley. Courses and curriculum in Latina/o theater are infrequent and
rare in the Rio Grande Valley, a region situated along the US-Mexico border in
South Texas between the Brownsville-Matamoros and McAllen-Reynosa borderlands.
Similar to other avenues of representation, the theatre taught or produced in
the secondary and post-secondary educational systems has not historically
reflected RGV communities, particularly the cultural, social, economic, and
linguistic diversity of the region’s Latina/o population.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>How did you teach </i>The Panza Monologues<i> (any fun
or meaningful activities or panza teaching tools you want to share)?</i></b></span></div>
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<span style="font-family: "verdana" , sans-serif;">I cover <i>The Panza Monologues</i> over two class periods. I guide
the students to think critically about the cultural power of the panza as a
vehicle for social change. For the first class period, I show them some of the
footage from the 2008 Plaza de la Raza in East Los Angeles performance from <a href="https://www.youtube.com/watch?v=1PocqhDnKu4" target="_blank">The Panza Monologues DVD </a>so they can visualize and hear this pivotal performance.
I then guide them through several critical and close reading discussion
questions that probe the importance of the site and history of San Antonio
(through immigration, politics, economic and racial segregation, poverty, and
other structural inequalities confronted by Latina/os) as central to the panza
politics staged by the text. We also focus on the importance of the text as
collaborative.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">For the second-class period, students begin with a theater
scene presentation, which is a requirement of the course. In groups comprised
of 4-5 students, they are asked to perform a short scene from one of our texts.
For <i>The Panza Monologues,</i> five Latina/o students, three of which identify as
female and two as male, perform excerpts from the PM. It is immediately evident
that these students, as do the majority of the class I find out by the end of
the class, powerfully connect to the monologues about culture, the body,
gender, and sexuality. In fact, some of the students in the group prior to this
moment had rarely spoken in class; as they performed the PM, I witnessed them
become confident and more engaged in the course. The group also constructed an
altar as a centerpiece of their performance, with Gloria Anzaldúa’s <i>Borderlands/La
Frontera </i>featured prominently. One of my students I recall very much connected
with one of the Virginia Grise’s interviews I had assigned that week to
supplement the text. The student remarked in one of her online discussion
posts: “Virginia Grise talks about her knowledge in her political training in
Marxism, her knowledge in women of color feminism, and her knowledge in Texas
Mexican anarchism that taught her to examine the intersections of the material,
economic, political, social and cultural forces impacting a community… and all
this knowledge, which is a product of years of in-depth education, is given and
broken down through the plays that she produces. Constructive theater, like the
ones that we have focused on and analyzed, are methods of transferring ‘weapons
of mass destruction’ to the public which they can utilize to break through the
barriers that have been imposed on them for so long. They provide insights and
knowledge of escaping the prisons in which they have been held captive.”<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Covering the PM over two days was not enough, however. The
students became very much connected to the themes of body image, culture,
gender, and sexuality generated by the text to the extent that they wanted to
perform these scenes on their own. So after I had mentioned the possibility and
reminded my students of the Panza Party concept referenced in the text, they chose
to host their own Panza Monologues Party (including purchasing the DVD with
their own funds). One of my students, Stefan Pena emailed Irma with
questions on how fast the DVD would arrive as they were eager to host the party.
He explains that Irma immediately replied,* which made the class more excited
that the author of the performance had replied and connected with them. For
several weeks, I witnessed my students’ excitement before and at the beginning
of the class as they passed around sign up sheets for the party, had
discussions of the best location, with some students who had not originally
signed up now concerned that they weren’t included, asking to now be included
on the email discussion about the party. After the party, which took place
toward the end of the semester on campus during the noon hour, Stefan
summarized the impact: “the event gave us a space to tell our own stories and
that many students felt more comfortable sharing things outside of an academic
setting [in class with their white professor probably] that would have
otherwise been off topic or too </span><span style="font-family: "verdana" , sans-serif;">personal.”</span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: #999999; font-size: x-small;"><i>*Irma corresponded with Stefan for the rush DVD request and is very pleased to learn by way of this post what the rush was for!</i></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Nuts and Bolts of how I lead my students in a discussion and
close reading of the PM in class: <o:p></o:p></b></span></div>
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<span style="font-family: "verdana" , sans-serif;">First Class Period:</span></div>
<ul>
<li><span style="font-family: "verdana" , sans-serif;">Assigned Reading from the book: "Foreword," "Muchas Many
Thank-Yous…,"</span><span style="font-family: "verdana" , sans-serif;"> "</span><span style="font-family: "verdana" , sans-serif;">Introducción," "Organization of the Book," and then the first half of the script. I also assign
the <a href="http://howlround.com/que-onda-with-virginia-grise" target="_blank">“Que Onda? Interview with Virginia Grise”</a> from <a href="http://howlround.com/cafe-onda" target="_blank">Café Onda: The Journal ofthe Latina/o Theater Commons.</a></span></li>
<li><span style="font-family: "verdana" , sans-serif;">I begin the class discussion by asking students to choose
lines from the "Forward" and "Introducción" that capture the message of the
performances and role of body as a site of politics. </span></li>
<li><span style="font-family: "verdana" , sans-serif;">I then work through the
following questions in our group discussion: </span></li>
<ul>
<li><span style="font-family: "verdana" , sans-serif;">How and why is the site of San
Antonio important to the performance? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">How was <i>The Panza Monologues </i>created? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">What kind of theater acts were involved? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">Why was it important for them to have
their play in print? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">How does Chicana feminism inform their work? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">What do you
learn about Irma Mayorga’s and Virginias Grise’s backgrounds as artists? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">What
did you learn about the politics of food? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">What are the politics of food,
especially in relationship to Latina/o consumers? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">How does <i>The Panza Monologues</i>
build upon and intervene in Eve Ensler’s <i>The Vagina Monologues? </i></span></li>
<li><span style="font-family: "verdana" , sans-serif;">Since the work is a
collaborative effort, how did Mayorga and Grise go about collecting the panza
stories? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">Why is this collaborative process important and how is it central to
the text as a whole?</span></li>
</ul>
</ul>
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<span style="font-family: "verdana" , sans-serif;">Second Class Period:</span><br />
<ul>
<li><span style="font-family: "verdana" , sans-serif;">Assigned Reading: T</span><span style="font-family: "verdana" , sans-serif;">he second half of the script and Meropi
Peponides, </span><a href="http://howlround.com/my-own-panza-girl-manifesto" style="font-family: verdana, sans-serif;" target="_blank">“My Own Panza Girl Manifesto”</a><span style="font-family: "verdana" , sans-serif;"> from </span><a href="http://howlround.com/cafe-onda" style="font-family: verdana, sans-serif;" target="_blank">Café Onda: The Journal of the Latina/o Theater Commons.</a></li>
<li><span style="font-family: "verdana" , sans-serif;">I focus this class period mostly on the concept of the
“panza is political,” specifically within the space of Tejas. I ask: </span></li>
<ul>
<li><span style="font-family: "verdana" , sans-serif;">What
meaning do you derive or is added to the play by reading the "Tejana
Topogrophies" section on San Antonio? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">How is the history of San Antonio
(immigration, politics, economic and racial segregation, poverty, and other
structural inequalities confronted by Mexican Americans) related to the panza?
and panza politics? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">How do the "Autogeographies" by Grise and Mayorga help you to
have a further/deeper understanding of their work? </span></li>
<li><span style="font-family: "verdana" , sans-serif;">How does all the contextual
material provided by the authors help us to see/understand the play as a site
of “theater for social change?”</span></li>
</ul>
</ul>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38sa_swlacXpLZT2aF4Vx17fOX_kbGOF960TJ9MtJX6nGaYjNU8HOWNUVtw95y-d1ZB57LqsPqS-PWbYuZCYOeaOOprFq0CZAAYucgJ8CGY8lhnBqd9EAlpMiRtF4cHkbHW9RPU8CofaF/s1600/Altar+by+Student+PM+Performance+Group.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38sa_swlacXpLZT2aF4Vx17fOX_kbGOF960TJ9MtJX6nGaYjNU8HOWNUVtw95y-d1ZB57LqsPqS-PWbYuZCYOeaOOprFq0CZAAYucgJ8CGY8lhnBqd9EAlpMiRtF4cHkbHW9RPU8CofaF/s320/Altar+by+Student+PM+Performance+Group.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Altar made by <i>Panza Monologues</i> student performance group <br />in <span style="text-align: justify;">ENGL 4300/MASC 4329 – Latin@ Theater for Social Action</span></span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why is </i>The Panza Monologues <i>important to your
field of study? What conversations/issues did the book raise?</i></b></span><br />
<i style="font-family: verdana, sans-serif;">The Panza Monologues</i><span style="font-family: "verdana" , sans-serif;"> embodies the Chicana feminist praxis of
the “personal is political” in all aspects – from the creation of the
monologues as collaborative, to the themes and stagings of the performance
itself, to the production of the published text.</span></div>
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<span style="font-family: "verdana" , sans-serif;">For my students, as much as I wanted them to think
critically about the concept of the body as a vehicle for social change and to
theorize this as a theatrical tool, they were much more interested in the
conversations generated by the PM around the media, body image, beauty, gender,
and sexuality, as well as how the monologues generate crucial conversations
around food and economics. We spent a significant amount of time during the
second class-period on food choices and structural inequalities that shape
those choices: students shared stories of their own families eating and
consuming habits, as well as their own food “choices.” As a result of this
discussion, students became much more critically aware of the socio-economic
factors and racism that generates the prevalence of fast food restaurants in
their neighborhoods and lack of affordable healthy restaurants and grocery
stories with healthy food. When some of the Latina/o students began to make
blatant statements about “Mexican food being unhealthy” (which is not the point
of the PM!), other students got very defensive of “Mexican food,” claiming it
as healthy in comparison to McDonald's, etc. In the future, on a syllabus outside
of a theater context or even as a suggested text, I would pair the PM with Luz
Calvo’s text <a href="http://decolonizeyourdiet.org/" target="_blank"><i>Decolonize Your Diet.</i><o:p></o:p></a></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQqyWuSVaVLFiG9_LLkEAic3P2WAGPnySBVbL4nvRwKHkIIjUwE9NxJzjiJyurO7yCJqt-3oQqbBAlXO8XR7FIyW5NHvU26zyAR10lbVXPlFqY0QCAZlL204xGXxTqh_5CPYxzk0i4BST/s1600/Panza+Party.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQqyWuSVaVLFiG9_LLkEAic3P2WAGPnySBVbL4nvRwKHkIIjUwE9NxJzjiJyurO7yCJqt-3oQqbBAlXO8XR7FIyW5NHvU26zyAR10lbVXPlFqY0QCAZlL204xGXxTqh_5CPYxzk0i4BST/s400/Panza+Party.png" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div style="font-family: verdana, sans-serif; font-size: 12.8px;">
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Students in <span style="text-align: justify;">ENGL 4300/MASC 4329 – Latin@ Theater for </span></span></div>
<div style="font-family: verdana, sans-serif; font-size: 12.8px;">
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="text-align: justify;">Social Action throw a Panza Party</span></span></div>
</td></tr>
</tbody></table>
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<span style="font-family: "verdana" , sans-serif;"><b><i>What did you learn about your teaching or about your
students from teaching </i>The Panza Monologues?</b><o:p></o:p></span></div>
</div>
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<span style="font-family: "verdana" , sans-serif; text-align: justify;">While I am aware that men are affected powerfully by body
image and media representations of male beauty, I was still surprised by how
many of my male students’ openly spoke and offered their own stories of body
image, shame, and lack of confidence as a result during the class. In fact,
some of the male students were the most vocal in the class when we talked about
gender and </span><span style="font-family: "verdana" , sans-serif; text-align: justify;">body image in relationship to the text. In fact, one male student
wrote on our online discussion board, “I think it is also important for people
to embrace who they are and not be ashamed of themselves only because they do
not meet a certain social standard. </span><i style="font-family: verdana, sans-serif; text-align: justify;">The Panza Monologues,</i><span style="font-family: "verdana" , sans-serif; text-align: justify;"> to me, did a great
job in relaying that message. This is important for men to even know. With the
media playing an important role in the development of the youth, it is
important for all kids to know that just because they do not look a certain way
they doesn’t mean they are not good enough.” Another wrote, “I’ve heard from
other people in the Hispanic culture that men like thicker women because they
can cook and feed them and their children. Now Hispanic women face the struggle
of not only being accepted by society, but also being accepted by the people of
their own culture. This book is not necessarily all about plus size Hispanic
women, it’s about acceptance and equality among gender, race, and appearance,
and it brings to light other issues that we have that don’t just pertain to the
Hispanic culture.” For me, I read these responses as referencing any one who
feels outcast based on gender, race, but also sexuality.</span><br />
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<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Favorite quote from</i> The Panza Monologues <i>book?</i></b></span></div>
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<span style="font-family: "verdana" , sans-serif;">“I must say/ I love her panza / It’s full and round /
Perfect in all is roundness / I love kissing her panza / It’s so perfect in all
her fullness” (from "Panza to Panza," page 70). I love this monologue and these
particular opening lines because the panza is most radical and political when
we start to talk about sexuality, and also the opening lines, for me at least,
convey vulnerability in a relationship. I always have my students read this
particular monologue out loud because I think it can help to challenge some of
the students who might want to evade the topic of sexuality when talking about
this text and only focus on the text as a celebration of the body. Also, I
remember when Virginia Grise performed this monologue when she came to visit
the then University of Texas Pan American in August 2014 and the auditorium was
enraptured; I can hear her read it when my students read it.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="mso-spacerun: yes;"><br /></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="color: #999999; font-family: "verdana" , sans-serif; font-size: x-small; mso-spacerun: yes;"><i>Note from the authors: "Panza to Panza" was one of the original works collected in our initial call in San Antonio for women's writing for the performance. It was penned by panza power activist lawyer and bad ass writer Maria Salazar. We have always been grateful for the contribution and for the opportunity to stage and publish Maria's powerful writing. </i></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i><b><br /></b></i></span>
<span style="font-family: "verdana" , sans-serif;"><i><b>More about Dr. Marci R. McMahon:</b></i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Marci R. McMahon is an associate professor in the Literatures
and Cultural Studies Department at the University of Texas Rio Grande Valley.
She received her Ph.D. from the University of Southern California and is the
author of <i>Domestic Negotiations: Gender, Nation, and Self-Fashioning in US
Mexicana and Chicana Literature and Art</i> (Rutgers University Press’s series Latinidad:
Transnational Cultures in the United States, 2013). Her publications in
Chicana/o cultural studies appear in <i>Aztlán: A Journal of Chicano Studies; Chicana/Latina
Studies: The Journal of MALCS; Frontiers: A Journal of Women’s Studies; </i>and the
<i>Journal of Equity & Excellence in Education. <o:p></o:p></i></span><br />
<span style="font-family: "verdana" , sans-serif;"><i><br /></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /><span style="color: magenta; font-family: "verdana" , sans-serif;">A</span><span style="color: magenta; font-family: "verdana" , sans-serif;">CTIVATE YOUR PANZA!</span></span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: 13px;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Enjoy reading <i>The Panza Monologues, Second Edition?</i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i><br /></i></span></div>
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<span style="font-family: "verdana" , sans-serif;">Share the love and help us out by writing reviews about <span style="color: windowtext; text-decoration: none; text-underline: none;"><i>T<a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">he Panza Monologues, Second Edition</a></i></span> on GoodReads.com, or by inviting us for an interview (print, web, radio, podcast or the like), or by writing a book review for a popular press, literary blog, or academic journal, or by encouraging others to purchase <i>The Panza Monologues, Second Edition </i>for your local library, your institution's library, or your local independent bookstore.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">And, if you teach <i>The Panza Monologues</i> - feel free to contact us about a the possibility of a "Pedagogy of the Panza" feature.</span></div>
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<span style="font-family: "verdana" , sans-serif;">You can also send us a note, take a picture on social media, or tag us with #panzamonologues if you see signs of the book anywhere near you! We love to see the #panzamonologues on social media!</span></div>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><br /><i></i></span></span>
<span style="font-family: "verdana" , sans-serif;">Don't forget, like Stefan, you can also buy a <a href="http://www.panzamonologues.com/#!aboutdvd/c1og9" target="_blank">DVD </a>of <i>The Panza Monologues</i> in performance.</span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><br /></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;">Enjoyed this story? Check out other "Pedagogy of the Panza" posts in this series:</span></span><br />
<br />
<ul>
<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2015/12/pedagogy-of-panza-featuring-angie.html" target="_blank">Pedagogy of the Panza: Featuring Angie Chabram</a></span></span></li>
<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2014/12/pedagogy-of-panza-interview-with-trevor.html" target="_blank">Pedagogy of the Panza: Featuring Trevor Boffone</a></span></span></li>
<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2015/10/pedagogy-of-panza-featuring-carla-della_11.html" target="_blank">Pedagogy of the Panza: Featuring Carla Della Gatta</a></span></span></li>
<li><span style="background-color: white; color: #666666;"><span style="font-family: "verdana" , sans-serif;"><a href="http://panzamonologues.blogspot.com/2014/06/pedagogy-of-panza-featuring-irene-mata.html" target="_blank">Pedagogy of the Panza: Featuring Irene Mata</a></span></span></li>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-13677985273237496022016-02-04T01:39:00.000-05:002016-02-04T05:54:57.195-05:00ACTIVATE YOUR PANZA!<div class="MsoNormal">
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<span style="font-family: "verdana" , sans-serif;"><span style="color: magenta;"><b>Year in Review 2015</b></span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">While we no longer tour the one woman show, many groups
have started to produce <i>The Panza Monologues</i> in their own
communities. We have been honored and often times surprised to see the
many ways the panza has continued to grow. The <a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">second edition of <i>The Panza Monologues </i></a>book has loads of information and tips
(including a DIY Production Manual) for organizing a production, a reading
and/or panza party in your own community, but we wanted to take some time here
(our first blog post of the New Year) to highlight a few ways that communities
creatively showed us their panza in 2015.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Teatro Vivo's production of <i>The Panza Monologues</i> in
Austin, TX</span></h4>
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<span style="font-family: "verdana" , sans-serif;">10 years after we premiered <i>The Panza Monologues</i> at
ALLGO (also in Austin), Teatro Vivo presented the first independent full
production of <i>The Panza Monologues</i> directed and performed
by <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://panzamonologues.blogspot.com/2014/04/love-your-body-featuring-florinda-bryant.html" target="_blank">Florinda Bryant</a></span> and Deanna Deolloz with Eva McQuade. It was tremendous
to see a solo show transformed into an ensemble piece and to witness the ways
in which the ensemble related the material back to their own experiences
and lived realities. We also learned so much in talk backs by a new generation
of artists that are creating work on and about their bodies. The language we
have to talk about panza positivity has radically changed in ten years, and we
are inspired by the ongoing conversation - because the panza is political.
And, their handmade garland of red hot Cheetos that was used to decorate the
altar was genius. Wait - what ever happened to those Cheetos?! Now we're
hungry. <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.mystatesman.com/news/lifestyles/the-panza-monologues-shares-womens-stories-of-love/njxC9/" target="_blank">More about the production.</a> </span> </span></div>
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<span style="font-family: "verdana" , sans-serif;">The Tucson Festival of Books</span></h4>
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<span style="font-family: "verdana" , sans-serif;">What an honor to be invited as featured authors for <a href="http://tucsonfestivalofbooks.org/" target="_blank">The Tucson Festival of Books</a> in March of 2015. This massive festival, held on the University of Arizona
campus, is the largest literary event in Arizona and the fourth largest in the
nation. Oftentimes we only think about theater in terms of shows and
productions, but truth be known, <i>The Panza Monologues</i> has had its
greatest circulation in print - so we were proud to be invited to
a <i>literary festival</i> to read from <i>The Panza Monologues</i> book,
sign copies, conduct workshops, and meet Arizona readers. Bien fancy! <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Cal State Long Beach</span></h4>
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<span style="font-family: "verdana" , sans-serif;">Another great honor has been the care and attention of students at Cal State Long Beach who have been holding a yearly
reading of <i>The Panza Monologues</i> since 2009 on their college
campus. In fact, we feature their organizing efforts around staging a community performance of <i>The Panza Monologues </i>as a case study in our
book. This year they created some extraordinarily brilliant ways to engage
the panza beyond the play and for audience members to also show us their panza!
Their creativity included a panza photo booth on Instagram complete with full
sized panza cut outs for folks to wear! <a href="https://www.blogger.com/goog_345646882" target="_blank"><span style="color: windowtext; text-decoration: none; text-underline: none;">More about the production</span><span style="color: windowtext; text-decoration: none; text-underline: none;">.</span></a></span></div>
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<b style="font-family: Verdana, sans-serif;">Alma Rivera and Nalgona Positivity Pride</b></div>
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Alma Rivera and <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://nalgonapride.tumblr.com/" target="_blank">Nalgona Positivity Pride</a></span> hosted a total Panzapalooza in East LA with a
full day of programming that included panza poetry, a mercado with vendors like
Pancita Pies, and a screening of <i>The Panza Monologues DVD.</i> Perra
Pumps was supposed to do a special live reading of two of the monologues, but
girl, she tripped and fell and twisted her ankle while getting ready for the
show. See? I told you - them puta shoes are just not worth it! I'll take panza
over cha-cha any day. Check out the great interactive panza positive wall
mural Alma Rivera created above. They asked their community - What does your panza mean to you?<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">These are just a few examples of ways that people
shared their panzas with their communities last year. <b><i>How will you
activate your panza in 2016?</i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: magenta;"><b>OUR PANZA KEEPS GETTING BIGGER!</b></span></span></h4>
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<span style="font-family: "verdana" , sans-serif;">Our blog has over 9,000 page views. <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://panzamonologues.blogspot.com/" target="_blank">Subscribe to our blog!</a></span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: windowtext; text-decoration: none; text-underline: none;"><i><a href="https://www.youtube.com/watch?v=1PocqhDnKu4" target="_blank">The Panza Monologues DVD</a></i> </span>is now in library collections at Illinois
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San Antonio, Ithaca College, Lawrence University, The Book House, Mount Holyoke
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<span style="font-family: "verdana" , sans-serif;"><span style="color: windowtext; text-decoration: none; text-underline: none;"><i><a href="http://www.panzamonologues.com/#!book/cm3t" target="_blank">The Panza Monologues Second Edition</a></i></span> is currently taught in classrooms
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<span style="font-family: "verdana" , sans-serif;">Join The Panza Positive Movement and...<span style="color: magenta;"><b>ACTIVATE YOUR
PANZA!</b></span></span><o:p></o:p></div>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-76001993911536325502015-12-04T21:14:00.001-05:002016-07-08T14:43:42.699-04:00Pedagogy of The Panza Featuring Angie Chabram<div class="MsoNormal">
<span style="color: #999999; font-family: "verdana" , sans-serif; font-size: x-small;"><i>Each and every time we learn of a teacher, activist,
scholar, artist, professor, organizer, coordinator, or facilitator who is or
has used T</i>he Panza Monologues <i>as a teaching tool, we are extremely
gratified and thankful. Our second edition of the play in publication was
specifically conceived of and designed to help facilitate its use in classrooms
of all kinds. We included numerous kinds of materials to accompany the script
in order to inspire its use as a wide reaching teaching tool.<o:p></o:p></i></span></div>
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<span style="color: #999999;"><span style="font-family: "verdana" , sans-serif; font-size: x-small;"><i>Our blog series "Pedagogy of the Panza" celebrates
and profiles teachers and their innovative instruction using</i> <span style="text-decoration: none;"><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues, Second Edition</a>.</span><i> These posts
showcase important, determined, and ingenious teachers of all kinds who are
taking our work to the next level of its manifestation. Are you using </i>The
Panza Monologues, Second Edition<i> in your classroom? We’d love to hear your
story – contact us! panzapower@gmail.com</i></span></span></div>
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<o:p><span style="font-family: "verdana" , sans-serif;"><br /></span></o:p></div>
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<span style="font-family: "verdana" , sans-serif;">***</span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>Name:</b> Angie Chabram, Professor<br /><b>Hometown: </b>La Puente, California</span></h4>
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<span style="font-family: "verdana" , sans-serif;"><i><b>Where do you teach? </b></i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Chicana/o Studies UC Davis, Davis, CA;<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>In what class/type of class did you use </i>The Panza
Monologues? </b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Chicana/o Studies 155, Theater.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why did you choose to teach </i>The Panza Monologues<i> in your
class? </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I choose to teach <i>The Panza</i> because of its relevance to my
theater class. This class is geared primarily toward the study of El
Teatro Campesino and Chicana feminist theater. Students are exposed
to a multimedia study of plays, scripts, and performance artists. They
learn about the different kinds of theatrical techniques and
traditions deployed by alternative grassroots artists and playwrights.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">This instruction is not based on a literary criticism or
theater criticism model. Here the objective is to reflect critically
on the use of theater as a means of popular social expression and
transformation. Students in the class absorb the lessons of the past
in order to craft their own meaningful expressions of the present. They
work in collaborative groups, write scripts, and assemble performances based on
the most important social issues facing them today. It is
my intent to act as a facilitator in this regard, providing them with an
assortment of tools which they can use in their student productions. They
then combine these with their own sources of communal knowledge and
speech. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3M2w1_OvLWH7Kdx8m3JuJN19t74GadfQWJTefoVxSPk1u2TvosSnUCbNmFW3HZSUGNRIkVNN9DM7EnZj1zCl8W0dUFU82BpSW9C0a_27_ewmB5KtV4lp6MxKL2h_datowSvAE9IVQRMos/s1600/el+teatro+campesino.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3M2w1_OvLWH7Kdx8m3JuJN19t74GadfQWJTefoVxSPk1u2TvosSnUCbNmFW3HZSUGNRIkVNN9DM7EnZj1zCl8W0dUFU82BpSW9C0a_27_ewmB5KtV4lp6MxKL2h_datowSvAE9IVQRMos/s320/el+teatro+campesino.jpg" width="214" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">When we looked at <i>The Panza Monologues</i> we did so in
relation to previous Chicana/o movement theatrical works. We had
already read Yolanda Broyles-Gonzalez’s account of El Teatro Campesino and
students had launched their own critiques about the limited roles for women in
many of the skits. They were more than ready for a female-centered
work where the protagonist breaks out of inherited stereotypical
configurations. I was interested in providing other kinds of
meaningful social ideologies that could accommodate the contemporary issues of
women. I was very aware of the fact that in some early works the
battery of women had gone unchecked <i>(El Corrido de Jesús Pelado </i>for instance),
and that Malinchismo was alive and strong. For instance, in the play
“Los Vendidos” there is a character named Miss-JIM-enez. She acts as
the go-between. She comes to Honest Sancho’s Shoppe where she seeks
to “buy” a brown face for the governor’s office. She
translates the governor’s vision and in doing so she activates racial
stereotypes and the political interests of the dominant group. Finally,
she completes the selection process of the governor’s office and leaves with a
character that fits the bill of the token brown face. Just before
leaving she says, just call me “Jimmy.” The transaction is completed
and so is her conversion to dominant masculinity. Of course we
realize that the actors from El Teatro Campesino in Honest Sancho’s
only acted like puppets. They put on the sell-out show to be able to<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiVWL0ZqIQ9vgEv9fcEdxdrbGth4IlfZwVrbn0YyT4OFyV_6LqQnmkWR__WYn5esej7V-l5Ra_kg5m8kgryVGhm95rGd5JZ_mBAsM0VLHuQiFlKJx0PHpVOU38mnSIozangzjm36oYPSq2/s1600/miss+jimenez-los+vendidos.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiVWL0ZqIQ9vgEv9fcEdxdrbGth4IlfZwVrbn0YyT4OFyV_6LqQnmkWR__WYn5esej7V-l5Ra_kg5m8kgryVGhm95rGd5JZ_mBAsM0VLHuQiFlKJx0PHpVOU38mnSIozangzjm36oYPSq2/s400/miss+jimenez-los+vendidos.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Miss JIM-en-ez from Los Vendidos</span></td></tr>
</tbody></table>
enter places of representation that are forbidden to them. The used
car salesman, Honest Sancho was the biggest puppet of all. The
members of the troupe used him to gather funds for their political purpose. Although Miss JIM-enez is also a sell-out, she is the only
real sell-out. At the beginning of the play she is identified as a
Chicana, thus the model of malinchismo continues to thrive. </span><br />
<div style="text-align: right;">
</div>
<span style="font-family: "verdana" , sans-serif;">
</span></div>
<span style="font-family: "verdana" , sans-serif;"><o:p></o:p></span><br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">What was important in CHI Studies 155 was to produce another
model where you see the self-determination and leadership of la Chicana. Here
in <i>The Panza</i> the protagonist takes hold of discourse and she speaks and speaks,
hurling disparate monologues into time and space. Her body is also
the locus of enunciation and a major performative tool. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div style="text-align: left;">
</div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">This provided me with an excellent opportunity. As
I was teaching this class I was very interested in also giving the students
more exposure to the different ways the body figured into performance. The
students were well aware of Broyles-Gonzalez’s work and suggestion
that the body has memory and a form of intuition based on the oral
tradition. Unlike the early examples of Chicanas malinchistas
here in this play the Chicana performer owns every part of her body. She
is not a being for another dressed in blonde wig and the political consumes of
the mainstream. Her body occupies theatrical space, it is the stage
for a number of performances involving identity, politics, health,
migration, family, and nation. These performances are articulated
around a series of disparate narratives that shed light on obesity, domestic
violence, migration, bodily image, and the panza as the
center. I would like to suggest that <i>Panza Monologues </i>enact a
kind of epistemological shift that cannot be </span></div>
<div style="text-align: left;">
</div>
<span style="font-family: "verdana" , sans-serif;">seen in texts such as <i>The Vagina
Monologues. </i><o:p></o:p></span><br />
<div class="MsoNormal">
<br /></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF5RHwa9dZ7CEGX_49tzhWDNF3GhMbbsRCatX7mbuVWcYAkfur0D9vH3QGBSSrN3zVbWRfAb6Hkj6Mi07aZhn36tEUQsh5w-sxZd2a8MHGAn02N-oT4nED9EyV1CXDG1P0zdWo38h7mJXG/s1600/Angie+Chabram.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF5RHwa9dZ7CEGX_49tzhWDNF3GhMbbsRCatX7mbuVWcYAkfur0D9vH3QGBSSrN3zVbWRfAb6Hkj6Mi07aZhn36tEUQsh5w-sxZd2a8MHGAn02N-oT4nED9EyV1CXDG1P0zdWo38h7mJXG/s400/Angie+Chabram.JPG" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Prof. Angie Chabram</span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">This shift allows a contextualization of the
performance in the historical condition of the impoverished and working poor
for whom the issue of sustenance is very real. The pangs of hunger
that are heard throughout this play of course remind the readers of the
Chicana/o Mexicana/o Latina/o populations who wage a struggle for subsistence
on a daily basis. Of course the whole issue of body image is itself
a major theme in the play that needs to be pried open in the context of
underrepresented social groups who do not control the dominant media
images. As the speaking subject emerges on the scene we see that she
performs a necessary but humorous counter discourse to bodily
ideologies that would shame those who have panzas and cannot hide them—or
refuse to hide. In a nutshell, she celebrates the panza as a representation of
the larger social body and as a relational aspect of social existence that
includes a mind-body as well as emotional connection. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">I also believe that the issue of social, ideological and
narrative consumption is at the heart of these monologues. The play
asks: What kinds of social ideologies of the body, the community,
the state of Chicana/o Latina/o health are we consuming? Which
of these ideologies need to be rejected or modified by a population which
is still (as Anzaldúa would say) “carved and tattooed by the sharp needles of
experience?” This is a population which aside from waging a struggle
for survival must also wage a struggle for educational and political access,
social and political equity, and a struggle for control over the mechanisms of
representation in order that dangerous stereotypes and dangerous initiatives be
displaced. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOXDn_3L-V29tbt_nXeTVHL5qs9KR_XK3Hvgsmi7Ywb9VIZwshgDEXekDyQ6EyvLxKpe4WURtqbLjsepVBnZYeXnBmc5QyYlZmRrG60o4K039s59tc_kPn4-idmGoEfQeIgPuXm9zBYNJF/s1600/panza+with+chalkboard.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOXDn_3L-V29tbt_nXeTVHL5qs9KR_XK3Hvgsmi7Ywb9VIZwshgDEXekDyQ6EyvLxKpe4WURtqbLjsepVBnZYeXnBmc5QyYlZmRrG60o4K039s59tc_kPn4-idmGoEfQeIgPuXm9zBYNJF/s400/panza+with+chalkboard.jpg" width="400" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">As a professor who cares deeply about the formation of
alternative health narratives, I view <i>The Panza Monologues</i> from this
angle. I think that these monologues break open the medicalized
languages ascribed to the Chicana body which are apparent in its generic
descriptions within medicalese. Often these descriptions separate
the body from life histories, they also wrestle them away from larger social
communities and cultural expressions. By making the panza speak we
see how the connections have been reconfigured through a kind of
personification on stage. In addition we see how Chicana
bodies “talk back” to mainstream health solutions that don’t take into account
such important aspects of life and culture such as the Mexican palate. There
is also a rejection of the kind of self-hatred and othering that takes place in
society in relation to obese people and Mexican people at large. There
is a sense that the panza (and obese body) is a body which is alive and should
not be dehumanized or disciplined to conform to a mainstream model in order for
it to be healed of all of its ailments. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b><i>How did you teach </i>The Panza Monologues <i>(any fun or
meaningful activities or panza teaching tools you want to share)?</i></b><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">An issue that we brought up in the viewing of the DVD was
the issue of how the play dealt with the issue of the rampant obesity and
diabetes in community. It was clear that the mainstream medical
approaches assigned to the little sister did not suffice, that starvation isn’t
a goal. But we remarked that we were not fully sure about what the
healing path could be, other than self-healing, spirituality, and community understanding. It
was clear that there could be another Monologue added that dealt with these
issues.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b><i>Why is </i>The Panza Monologues<i> important to your field of
study? What conversations/issues did the book raise? </i></b><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Aside from the themes I have developed above I think that
there were a number of interesting strategies deployed in the performance such
as the [zapateado] scene which relied on the dance to dramatize the serious
issues facing Latina/o communities. I had a math student
in the class who wanted to downplay this a bit by stating that as far as
statistics presented in this scene the Mexican population didn’t
fare far worse that other groups. I don’t know how often these
statistics are changed. We talked about how a comparative dimension
could be worked into these monologues especially with the high incidence of
diabetes in Native American, African American, and many global populations
throughout the world, including India. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b><i>What did you learn about your teaching or about your students from teaching </i>The Panza Monologues? </b><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">The main thing I appreciated were the bodily movements that
accompanied the play that hit the ball out of the park and were vastly more
developed than what we saw in the early use of pantomime. I also enjoyed the
kind of gestures toward audience population that were evident throughout the
play and the way the audience became part of the performance. I also thought
that there were a number of welcoming gestures enacted by the lead actress
which invited the audience to engage in a kind of co-creation of the
panza. This is productive work in the field of representation that
needs attention at this moment in time in relation to this and other
aspects of the feminine body of color from working class background. Finally
I would like to see a kind of intertextual dialogue between works on Latina/o
diabetes and the play that could furnish an interesting conversation on the
play. I am aware of the huge challenges posed by obesity and
diabetes, and I believe that <i>The Panza Monologue</i>s could be expanded to
accommodate these issues, maybe even have a bit of communal health literacy
(back and forth) go on in the play. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b><i>Favorite Quote from </i>The Panza Monologues<i> Book? </i></b></span></div>
<blockquote class="tr_bq">
<span style="font-family: "verdana" , sans-serif;">"I throw Chingazos for my Raza." - from "Cha-Cha to
Panza"</span></blockquote>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Because it reminded me of "I throw Punches," I never thought
this would make it into a play. Self-serving, maybe, but true!</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="color: #999999; font-size: xx-small;"><o:p style="font-style: italic;">N.B. Here, Dr. Chabram refers to her classic, must read essay </o:p><i>“I Throw Punches for My Race, but I Don’t Want to Be a Man:
Writing Us—Chica-nos (Girl, Us)/Chicanas—into the Movement Script." A landmark moment in Chicana/o studies, and as we note in our book's glossary, </i>The Panza Monologues <i>does, indeed, riff on the essay's memorable and important title. AND, the fact that audiences across the country have often recognized the reference in the course of </i>The Panza Monologues<i> in performance is a testament to the force of Dr. Chabram's work. It thrills us to know that she appreciates the props we wanted to pay her!</i></span></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="color: #999999; font-size: xx-small;"><i><br /></i></span></span></div>
<div class="MsoNormal">
<span style="color: #999999; font-family: "verdana" , sans-serif; font-size: xx-small;"><i>You can find Dr. Chabram's essay in the book </i><a href="https://www.routledge.com/products/9780415235167" target="_blank">The Chicana/o Cultural Studies Reader, </a><i>edited by Angie Chabram, published by Routledge in 2006.</i></span></div>
<div class="MsoNormal">
<span style="color: #999999; font-family: "verdana" , sans-serif; font-size: xx-small;"><i><br /></i></span></div>
<div class="MsoNormal">
<span style="color: #999999; font-family: "verdana" , sans-serif; font-size: xx-small;"><i>You can also order </i>The Panza Monologues DVD<i> <a href="http://www.panzamonologues.com/#!aboutdvd/c1og9" target="_blank">here.</a></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>More About Angie Chabram: </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I have taught for 30 plus years at UC Davis in Chicana/o
Studies. I am the fourth child of a single parent from the San
Gabriel Valley. I work hard to provide educational access to
students about Chicana/o Latina/o culture. I support the need to
develop archives that bridge the arts, the academy, and the community. I
want very much to help produce cultural narratives that can empower and assist
people suffering from social, political, and health ailments. <o:p></o:p></span></div>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-78905492935345259402015-10-29T18:45:00.000-04:002016-07-11T09:49:02.352-04:00International Panza Featuring Claire M. Massey<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i>The Panza Monologues </i>has travelled far and wide all across
the nation, not only in theaters but in college classrooms, community centers, and even in people's living rooms. Recently <i>The Panza Monologues</i> has even
crossed international borders. This blog post focuses on the work of scholar
and panza ally Claire M Massey, a doctoral candidate at Saarland University in
Germany who tirelessly advocates for Chican@ literature
internationally. Her dissertation is situated in the field of Cultural
Studies, specifically looking at the Librotraficante Movement out of Houston,
Texas. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; text-align: center;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif; text-align: center;">***</span></div>
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<o:p><span style="font-family: "verdana" , sans-serif;"><br /></span></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsNsjgB2LL9IMGCVmwCmhtkPiINotQCrPhw85DH6T94q9yjaNygDsSPMAxMMSIZrrv28inWY4vMySxqLITaoXn_fXXgODaIk2Vxe1P4aHtUHWkt66a5_KJmCje0CgV0LL9DwvvtunSRLoR/s1600/Claire+Massey.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsNsjgB2LL9IMGCVmwCmhtkPiINotQCrPhw85DH6T94q9yjaNygDsSPMAxMMSIZrrv28inWY4vMySxqLITaoXn_fXXgODaIk2Vxe1P4aHtUHWkt66a5_KJmCje0CgV0LL9DwvvtunSRLoR/s320/Claire+Massey.jpg" width="297" /></a><span style="font-family: "verdana" , sans-serif;">Name: Claire M Massey<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Hometown: Poynton, Cheshire, UK<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Currently lives in: Saarbrücken, Germany<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Field of study: Cultural Studies<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>How were you introduced to Chicano literature?</i></b><o:p></o:p></span></div>
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<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;">When I was a third-year undergrad (Warwick University, UK) I
spent my year abroad at UCLA. The classes I had chosen from the catalogue put
me in the César E. Chávez Department of Chicana/o Studies. It was here that the
world of Chican@ literature opened-up to me. Although I was studying
Comparative American Studies (CAS) at my home university, not once was the term
“Chican@” used, no literature, no history, no ‘Mexican American’, ‘no Latin@’,
nothing. I knew this was wrong because I had spent two years working on a US
Army base in Frankfurt, Germany, where I’d met Chicanos from Texas, Washington
State, Kentucky, and California. Yet, once I got to university here was a
gaping hole in the narrative of the Americas. That’s why I went to
UCLA. That’s where my education really started.<o:p></o:p></span></div>
</div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why is Chicano studies important in your country?</i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">If you Google, “Chicano Studies UK”, you get nothing. If you
Google, “Chicano Studies England”, you get nothing. So, I Google’d “Chicano
Studies Warwick” (My ‘Alma Mater’) and got a link to ‘Warwick Hispanic
Studies’, founded 2012. Although ‘The House on Mango Street’ is
mentioned in one of the modules, the course offerings are heavily Latin
American and Caribbean in focus. Chican@ literature and history doesn’t appear
to be a part of their syllabus. I have no doubt that there are courses at
Universities in the UK that include the works of Gloria Anzaldúa, Ana
Castillo, and others, and that there are independent researchers, but Chican@
Studies as an academic field does not appear to exist. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">In the country where I now study, Germany, there has long
been academic interest in Chican@ Studies. However, that is not to say that
there are stand-alone Chican@ Studies programmes at the universities, but more
that scholarly research is very strong. As is it is in Spain. However, for many
inside and outside university here, as in the UK, the term Chican@ is simply
not known. Those who have heard of Malcolm X and Martin Luther King, have not heard
of Dolores Huerta or César Chávez. The Civil Rights Movement was the Black
community. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">I believe Chican@ Studies is vital as a lens for Western
Europe to view immigration, migration, and its communities. For
Europe to see how it feeds off the labour of migrant workers, and how our
schools render invisible all but the stories of the Anglo majority. How our
university departments, faculty, staff and students do not reflect the
communities they are set in. It is very easy in Western Europe to
view racism, police violence, and political extremism as inherently of the
United States. Through Chican@ Studies we have to ask ourselves: “What about
here?”<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why is </i>The Panza Monologues<i> important to your field of
study?</i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Like Borderlands/La Frontera, <i>The Panza Monologues</i> is a
masterpiece of “theory in the flesh.” A narrative of female
oppositional consciousness and agency, it reveals the counter-stories of communities rendered invisible in a city built upon their backs. Here the city
is San Antonio, sold slick, and shiny, shrink-wrapped in mariachis and
margaritas, no glimpse of darker realities beyond The Riverwalk. In this age of
globalisation, neoliberalism, and citizen as consumer, <i>The Panza Monologues
</i>framework challenges the reader/audience to actively disturb notions of place,
of identity, beauty, belonging, and power; to push back against majoritarian
myth, against patriarchy, and to develop strategies of survival that nurture
self, community, agency, and love.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;"><i>The Panza Monologues, </i>like Chican@ Studies, offers mirrors
of identity for those whose communities are distorted by societal narratives.
Distorted by images in the media. By being rendered both visible and invisible.
It offers the students who do not see themselves in the courses offered, the
reading lists, the exam questions and their assumptions, well, <i>The Panza
Monologues </i>offers them a voice, a chance to tell their story, a relatable familiarity. It is a powerful tool for self-recognition, and for self-love.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>What part of </i>The Panza Monologues<i> book were you most drawn
to and why?</i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">"The Prologue" made me think of my mother, who is amazing, but
has always worried about her weight. And when she has never been ‘overweight’
(whatever that is, right?), but when we were younger, when we’d all sit down
together to eat dinner, she would eat off a smaller plate, she’d read it
somewhere that that would work. Or she’d go to Weight Watchers, or eat cabbage
soup for a week. Now when I see her she tells me how much weight she’s lost,
it’s still an accomplishment for her. Perhaps in a house of six people this is
something she has always felt she has control over. Perhaps when we went
through periods when money was tight this was a strategy to keep the home
together. My brother and my dad have never worried about their weight. My two
sisters have. I went through a period of bulemia when I was in my late teens.
Now if I put my mind to it I can eat very little. I don’t do that so much
anymore, but I can become obsessed with what I eat. I always feel more
confident when I’m thinner. I was bullied at school for being ugly, so I know I
cannot get fat, for me that would a double curse, fat and ugly. So I try to
watch what I eat. To draw attention away from my face. Well, that is quite a
thing to reveal. This I guess is my Panza Monologue.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Favorite Quote from </i>The Panza Monologues<i> book?</i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">“You gots to love the panza. You gots to love yourself.”
-from "Panza Girl Manifesto"<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">***<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif;">Claire Massey completed her undergraduate studies at Warwick
University and received her MA from the University of Leeds. In 2014 she was a
recipient of the LILIAS CMAS Benson Library Fellowship, at UT Austin. Claire is
also the recipient of the Soho Theatre London’s Westminster Prize, has
performed with the Old Vic’s community theatre company and in the summer of
2012 she took part in the closing ceremony of the London Olympics.<o:p></o:p></span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: magenta;">ACTIVATE YOUR PANZA!</span><o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">Enjoy reading <i>The Panza Monologues, Second Edition?</i><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Share the love and help us out by writing reviews
about <i><a href="http://www.panzamonologues.com/#!book/cm3t" target="_blank">The Panza Monologues, Second Edition</a></i> on GoodReads.com, or by inviting us
for an interview (print, web, radio, podcast or the like), or by writing a book
review for a popular press, literary blog, or academic journal, or by
encouraging others to purchase <i>The Panza Monologues, Second Edition</i> for your
local library, your institution's library, or your local independent bookstore.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">You can also send us a note, take a picture on
social media, or tag us with #panzamonologues if you see signs
of the book anywhere near you! We love to see the #panzamonologues on social
media!</span><o:p></o:p></div>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-59340542362685860422015-10-11T00:56:00.000-04:002016-07-08T14:44:30.418-04:00Pedagogy of the Panza Featuring Carla Della Gatta<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Each and every time we learn of a teacher, activist,
scholar, artist, professor, organizer, coordinator, or facilitator who is or
has used <i>The Panza Monologues </i>as a teaching tool, we are extremely
gratified and thankful. Our second edition of the play in publication was
specifically conceived of and designed to help facilitate its use in classrooms
of all kinds. We included numerous kinds of materials to accompany the script
in order to inspire its use as a wide reaching teaching tool.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
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<span style="font-family: "verdana" , sans-serif;">Our blog series "Pedagogy of the Panza" celebrates
and profiles teachers and their innovative instruction using <i><a href="http://www.panzamonologues.com/#!book/cm3t" target="_blank">The Panza Monologues, Second Edition.</a></i> These posts showcase important,
determined, and ingenious teachers of all kinds who are taking our work to the
next level of its manifestation. Are you using <i>The Panza Monologues,
Second Edition</i> in your classroom? We’d love to hear your story – contact
us! panzapower@gmail.com<o:p></o:p></span></div>
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<o:p><span style="font-family: "verdana" , sans-serif;">***</span></o:p></div>
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<o:p><span style="font-family: "verdana" , sans-serif;"><br /></span></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi63E7_KsYCn2k_HZu_zw89_bK4AOTW9Yzi4d4-uvMsb8uXq0bSXweMMg9K9yocxTHAJNmR9gxkTNt45LiORCZDBYSRkD6w2AZel8wkj3dx3HySRzAds-GV03IrB9HkXm5nL8YBbMPz3gqB/s1600/Della+Gatta+in+front+of+Northwestern.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi63E7_KsYCn2k_HZu_zw89_bK4AOTW9Yzi4d4-uvMsb8uXq0bSXweMMg9K9yocxTHAJNmR9gxkTNt45LiORCZDBYSRkD6w2AZel8wkj3dx3HySRzAds-GV03IrB9HkXm5nL8YBbMPz3gqB/s400/Della+Gatta+in+front+of+Northwestern.jpg" width="400" /></a></div>
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Name: Carla Della Gatta</span></div>
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<span style="font-family: "verdana" , sans-serif;">Hometown: Los Angeles, where I currently live.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Where do you teach? </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I am an Assistant Professor of Critical Studies at the
School of Dramatic Arts at the University of Southern California. I
taught <i>The Panza Monologues </i>at Northwestern University earlier this year.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>In what class/type of class did you use </i>The
Panza Monologues <i>in? </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">It was an upper-division seminar called “Latina Theatre
& Feminisms” that was cross-listed in Gender & Sexuality Studies,
Latina and Latino Studies, and Theatre. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why did you choose to teach </i>The Panza Monologues<i> in your
class?</i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I chose <i>The Panza Monologues </i>for a number of reasons. First,
the class included the term “Latina Theatre” in the title but I wanted to
challenge any limits that the term implies. The students read plays
written by Latinas, but the subject matter of the plays varied widely. They
also read a play written by a Latino with a strong Latina lead role and
discussed various Latina performance pieces. Second, the class
discussed the Latina body as a site of memory in the theoretical readings on
Chicana Feminism and in discussions on other plays, so having <i>The Panza
Monologues</i> as the penultimate text really brought a lot of the course themes
together. Third, Virginia & Irma’s voice and Virginia's
performance style are essential to discussing Latina performance as a genre
today, and where it falls in the trajectory of Latina and Latino theatre
history.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq9bZ8xkCumXFnGLqtGi5YW_kYopvo2nvKGLRH9gIK0uW3-wI2dsK-EXsgMmePnPcgLMPl8ghl4rWUNSKZlI_c6QPiiN7_z2HQHS4p9JhFR1HvaFVxfN5AKXAeSqWS8BpkbqU5mRMHiBO0/s1600/Della+Gatta%2527s+Course+Reader.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq9bZ8xkCumXFnGLqtGi5YW_kYopvo2nvKGLRH9gIK0uW3-wI2dsK-EXsgMmePnPcgLMPl8ghl4rWUNSKZlI_c6QPiiN7_z2HQHS4p9JhFR1HvaFVxfN5AKXAeSqWS8BpkbqU5mRMHiBO0/s320/Della+Gatta%2527s+Course+Reader.jpg" width="240" /></a></div>
<span style="font-family: "verdana" , sans-serif;"><b><i>How did you teach </i>The Panza Monologues <i>(any fun or
meaningful activities or panza teaching tools you want to share)? </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The class first watched the DVD of the performance without
reading the book. This allowed students to experience the piece with
the dramaturgy and performance elements. I also showed clips from
Eve Ensler’s <i>The Vagina Monologues,</i> and the students discussed the different
methods for solo performance, especially the use of voice and music.<o:p></o:p></span></div>
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After watching the video, we discussed some of the book’s contents, especially
Virginia & Irma’s research process that led to the stories in the piece and
the emphasis that Virginia and Irma place on pedagogy. Because of
the first-person narration and the physicality of the storytelling style, the
students initially thought that these were Virginia’s personal stories. We
talked about theatre as a tool for raising consciousness and the ethics of
performing other people’s narratives, especially when they focus on the body,
sexuality, and violence. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why is </i>The Panza Monologues<i> important to your field of
study? What conversations/issues did the book raise? </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The Latina body is often eroticized or maternalized in the
media and in popular culture, but in Virginia & Irma’s work it is presented
as a site of collective and personal memory. The collective memory
includes a history of structural violence toward the Latino community,
especially Chicanas/os, in the form of food deserts and mis-education about
diet and the body. We devoted a unit solely to Xicanisma early in
the term, and the students related the concept of Theory in the Flesh and ideas
about embodied knowledge to <i>The Panza Monologues. </i>Virginia &
Irma’s piece brought all of it together.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>What did you learn about your teaching or about your
students from teaching </i>The Panza Monologues?</b> <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I learned that my students, who were from a variety of
backgrounds, would each relate to something different in the piece. I
expected to talk about solo performance as a genre and performance elements
(the use of the altar, music, and physicality), but the discussions ranged from
the representation of the female body in the mainstream media to the historical
relationships of food and cultures to making the body an agent of
activism. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Favorite Quote from </i>The Panza Monologues Book?</b><o:p></o:p></span></div>
<blockquote class="tr_bq">
<span style="font-family: "verdana" , sans-serif;">"I never wanted to look like her, but slowly the image of my
mother crept into my own body."</span> <span style="font-family: "verdana" , sans-serif;">From "Cha-Cha to Panza" </span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"><br />
***<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /><a href="https://dramaticarts.usc.edu/carla-della-gatta/" target="_blank">Carla Della Gatta</a> is an Assistant Professor of Critical Studies at the USC
School of Dramatic Arts. She has published articles and reviews in academic
journals, and served as a dramaturg, translator, and scholar for the theatre.
Her research areas include early modern drama and theatre history, Latina/o
Theatre, Spanish Golden Age theatre, adaptation theory, postcolonial feminism,
and critical race theory.<o:p></o:p></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="color: magenta;">ACTIVATE YOUR PANZA!</span><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="color: magenta;"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif;">Enjoy reading <i>The Panza Monologues, Second Edition?</i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Share the love and help us out by writing reviews
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review for a popular press, literary blog, or academic journal, or by
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<span style="font-family: "verdana" , sans-serif;">You can also send us a note, take a picture on
social media, or tag us with #panzamonologues if you see signs
of the book anywhere near you! We love to see the #panzamonologues on social
media!<o:p></o:p></span></div>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-43621101608537873992015-08-18T11:15:00.000-04:002016-07-08T14:46:08.586-04:00DIY Panza Featuring Alma Rosa Rivera<!--[if gte mso 9]><xml>
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<span style="font-family: "verdana" , sans-serif;"><i>Our occasional blog series - "DIY PANZA" -
celebrates and profiles artists and their innovative use of </i>The Panza
Monologues, Second Edition<i> in their community. This series
features posts that showcase important, determined, and ingenious artists
of all kinds who are taking our work to the next level of its manifestation.
Alma Rosa Rivera contacted us through our website about producing an event in
Los Angeles to celebrate the panza. She teamed up with the women of Nalgona
Positivity Pride to create a well rounded Panzapalooza weekend that includes a
reading from the book by local performer Perra Pumps, clips from the DVD,
street vendors and pie! Yes, pie! If you are in LA join them
on August 21st 8pm-11pm at La Concha, 1214 East 1st Street. Are
you producing </i>The Panza Monologues<i> in your community? We’d love to
hear your story – contact us! panzapower@gmail.com<o:p></o:p></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i>***</i></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">Alma Rosa Rivera, Los Angeles, CA</span></div>
<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"></span><br />
<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: small;">
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 7.5pt;">Alma contacted us after reading <i>The Panza Monologues</i> book</span></span></div>
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<span style="font-family: "verdana" , sans-serif;">I'm living in Koreatown in Los Angeles & do most of my
organizing in Boyle Heights in East Los Angeles. What we are currently creating
for our community is a Panza Positive environment to screen excerpts from the
DVD/play: <i>The Panza Monologues.</i> This event is for las muxeres! The
Xican@s who have panzas that take up space & also those who have lost their
panzas. For the muxeres that carry bebes & the ones with no wombs. All of
our panzas are beautiful as well as all of our brown muxeres. I am working with
an up & coming muxer Gloria who runs Nalgona Positivity Pride. My objective
in organizing is to support & sustain Xican@ writers as well as build
intersectional sisterhood. Gloria's objective is to bring support &
positivity to people of color who suffer & are suffering from eating
disorders. Both of our work is important. Together we are Panza Positiva!</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Catwomyn and Nalgona Positivity </span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Pride are Panza Positiva!</span></div>
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<o:p></o:p></div>
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<span style="font-family: "verdana" , sans-serif;">We chose to work with <i style="font-variant: normal; font-weight: normal; line-height: normal;">The Panza Monologues</i> because of the
specific Xican@ roots the play has. Both Gloria & I identify with being
Xican@ as well as indigenous. When I first heard about <i style="font-variant: normal; font-weight: normal; line-height: normal;">The Panza Monologues</i> it
was over Instagram. I couldn't believe that this play existed & was excited
it had been created. I had read <i>The Vagina Monologues.</i> I enjoyed the book very
much but it was not my gente's story! It was not told by a muxer with my
experience! This book & play really is a blessing for the commuity. It's
funny, positive, and can & WILL save lives. I believe very strongly in this
type of work.</span> <o:p></o:p></div>
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<span style="font-family: "verdana" , sans-serif;">My good friend Meliza Banales, Gloria, & I are working to
create a Xican@ 2 Day Mini-Fest. We named it Dias de los Vivos because we are
here to celebrate our community of Xican@ writers while they are ALIVE. Day One
is Panza-Palooza: We will have a fabulous performer Javi whose alter ego is
Perra Pumps perform two monologues and screen excerpts of the DVD. We will also
have the talented Yesika Salgado! This Salvi Slam poet will move your corazon
in every way possible. She's powerful! We will have tacos, pies, plus size
clothing, accessories & more...all to support muxeres who take up
place/space - Panza with a Z and not a S! <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Day Two: La Futura is Ahora, will have a Xican@ panel
including myself, Meliza Banalez & Rios de la Luz who have currently come
out with new books on Lady Box Books. We will also have a back patio FULL of
xican@ zinesters selling there zines. Both these events will be in East Los
Angeles in a womyn of color space called La Concha. Panza-palooza will be
August 21st 8pm-11pm. La futura is ahora will be August 22nd 8pm-11pm.
Both nights will be at 1214 East 1st Street, Los Angeles for only 3
dollars each night. Come join us!</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">August 21st in East LA. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Show us your Panza!</span></div>
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<span style="font-family: "verdana" , sans-serif;">We know that this event will be very important to the
community because of its roots being written for the brown community. It's
funny because in ways having panza & having lonjas is in our cultura. Yet
we live in the United States where we are taught to feel bad because we are not
thin or white. Our event is to celebrate & support all the womyn of our
community. Especially those who are large & brown & face these
obstacles this society gives them on a daily basis. You are all safe with us.
We love you. Also not all muxeres have wombs or panochas. We love you too.</span><o:p></o:p></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">The book that Virginia & Irma published is very helpful
as it has a glossary, all the monologues, and event ideas. It also tells you
how to contact them in a professional manner & how to go about creating an
event that is respecting their hard work. The book is a must to buy even before
you decide to email about creating an event. It will give you the full insight
on what you need to create a Panza Positive event & create a realistic
goal.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><br />
My favorite quote from <i>The Panza Monologues </i>book has got to be from
The International Panza; “Somos nosotros las hijas de Coyolxaugqui, full moon
faces. Y yo con una panza to match. Big, round, beautiful full moon panza
to match my Olmeca head.” This whole paragraph is gorgeouse.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">If my panza could speak it would be a bisexual version of el
borracho on a loteria card. Everything my catholic Mami hates. It would be
bisexual because it is not a skinny panza..nor a gorda panza. Yet it shakes
like gelatina, is uncomfortable, is not accepted by this society. It tells me “please don't hate me..” & so I feed it enchiladas & cerveza. My panza
is accepted by my fiance. Which is empowering. But creating this event has been
a part of my journey to accepting my own panza. I don't accept my panza everyday
but I am working on it. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">***<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">More About Alma Rosa Rivera: I am 24, the child of two
border breakers from San Luis Potosi, Mexico. Middle child of 5 siblings.
Community organizer with Con Fuerza Collective a Xican@ feminist collective in
Boyle Heights. My personal goal is to create positivety & feminism though
womyn of color books; specificly Xican@ literature. I want to give womyn a
space to be brave. To make mistakes & to celebrate our beautiful
culture. I don't feel enough work is going on like this in this world &
even if we had it we can never have too much of this type of work either. I am
also currently working on starting Callate & listen. It's a video blog on
Womyn of color writers with an emphisis on Xican@ writers. I am currently
a minimum wage-working class- chica, trying to affect the world for todas las
muxeres one event at a time. One book at a time. One panza at a time. I am a
Xican@ hustler.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Follow Alma on Instagram: Chicana_catwomyn</span></div>
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<span style="font-family: Verdana, sans-serif;">In response to the lack of diversity (again) in the <a href="http://www.npr.org/sections/codeswitch/2015/05/28/410015276/the-worst-groundhog-s-day-time-to-talk-again-about-diversity-in-publishing">New York Time's summer reading list</a>, we decided to ask a few writer friends what two books they would suggest reading this summer. This is not meant to be an exhaustive list in any way but it just goes to show - when you ask a handful of diverse artists what books they would recommend you get a diverse list. From children's books to memoirs, to poetry to novels, here is what they said:</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAh2951Ecutg6VKQip1z0ghBWn8uDJa1pItRheO2Nw_N3JGHDzcdJChWTahY52ZEMdAD7dxXXsbdQgh04j65qsaNiT4Qkv_5RpnBRZH8fgmCk_H4TCY_ihvyxffk0bbMU4-Q2b-6bUuBrI/s1600/Sharon+Bridgforth.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAh2951Ecutg6VKQip1z0ghBWn8uDJa1pItRheO2Nw_N3JGHDzcdJChWTahY52ZEMdAD7dxXXsbdQgh04j65qsaNiT4Qkv_5RpnBRZH8fgmCk_H4TCY_ihvyxffk0bbMU4-Q2b-6bUuBrI/s200/Sharon+Bridgforth.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Photo by Steven Fullwood</td></tr>
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<span style="font-family: Verdana, sans-serif;"><a href="http://sharonbridgforth.com/"><b>Sharon Bridgforth</b></a> is a resident playwright at New Dramatists
since 2009. RedBone Press author of <i>love conjure/blues</i> and the Lambda
Literary Award-winning <i>the bull-jean stories,</i> her piece <i>delta dandi, </i>is
published in solo/black/woman, Eds. E. Patrick Johnson and Ramon
Rivera-Servera, Northwestern University Press. Bridgforth, Omi Osun Joni L.
Jones and Lisa L. Moore are co-editors of <i>Experiments in a Jazz Aesthetic: Art,
Activism, Academia, and the Austin Project</i>, University of Texas Press. She
is one of the subjects of Dr. Omi Jones’ <i>Theatrical Jazz: Performance, Àṣẹ,
and the Power of the Present Moment</i>, Ohio State University Press. Sharon recommended:</span></div>
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<li><a href="https://www.youtube.com/watch?v=7iHSjAFfqfw"><span style="font-family: Verdana, sans-serif;">Staceyann Chin, <i>The Other Side of Paradise: A Memoir</i>, Simon & Schuster, 2009.</span></a></li>
</ul>
<ul>
<li><span style="font-family: Verdana, sans-serif;"><a href="http://www.penguinrandomhouse.com/books/116457/coming-of-age-in-mississippi-by-anne-moody/">Anne Moody, Coming of Age in Mississippi, Random House Publishing Group, (reprint) 2014.</a></span></li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmR9MZsF1oqcvN2SwAgYLcyc-e4RGN9_uB42HHZmqcCIG_ADGbnditQ5Mplr0v71kdqYPUEC_sFZIDW8XVOs8gXJSvIkqlUoDpggXjigveMr_aJJtmfd2ey-EOTbXiKaCMFHmCufNMKs5/s1600/Emma+Perez.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="193" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOmR9MZsF1oqcvN2SwAgYLcyc-e4RGN9_uB42HHZmqcCIG_ADGbnditQ5Mplr0v71kdqYPUEC_sFZIDW8XVOs8gXJSvIkqlUoDpggXjigveMr_aJJtmfd2ey-EOTbXiKaCMFHmCufNMKs5/s200/Emma+Perez.jpg" width="200" /></a></div>
<span style="font-family: Verdana, sans-serif;"><a href="http://www.colorado.edu/ethnicstudies/people/perez/"><b>Emma Pérez</b></a> has published fiction, essays and the history
book, <i>The Decolonial Imaginary.</i> Pérez’s first novel, <i>Gulf Dreams, </i>was
published in 1996 and reprinted with Aunt Lute Books in 2009. Her second
novel, F<i>orgetting the Alamo, Or, Blood Memory, </i>(University of Texas Press,
2009) was awarded the Christopher Isherwood Writing Grant (2009), won 2nd place
in Historical Fiction from International Latino Books (2010), was a finalist in
General Fiction from the Lambda Literary Foundation Awards (2010) and was a
finalist in Historical Fiction from the Golden Crown Literary Awards (2010).
Her latest novel, <i>Electra’s Complex,</i> is an erotic mystery published with
Bella Books (2015). Currently, she is a professor in the Department of
Ethnic Studies at the University of Colorado, Boulder. Emma recommended:</span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<ul style="font-family: Times;">
<li><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><a href="http://uwpress.wisc.edu/books/5346.htm">Michael Nava, <i>The City of Palaces</i>, University of Wisconsin Press, 2014.</a></span></span></li>
</ul>
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<li><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><a href="http://www.penguin.com/book/a-tale-for-the-time-being-by-ruth-ozeki/9780670026630?sym=EXC">Ruth Ozeki, <i>A Tale for the Time Being</i>, Penguin Books, 2013.</a></span></span></li>
</ul>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEoQjOABB5p7DvMAYa713gA3m_mytI1PKHzi1uKtfCPy7ON0LzHquU2OFrHhZ4vjDKAafKzliL3uoq6QoKO4tfSKhmk_GPN_74nUUC8aGEGw7ViXpg9T7YtwEVQeLUl63tmRRqxuJS1jn_/s1600/Joe+Jimenez+.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEoQjOABB5p7DvMAYa713gA3m_mytI1PKHzi1uKtfCPy7ON0LzHquU2OFrHhZ4vjDKAafKzliL3uoq6QoKO4tfSKhmk_GPN_74nUUC8aGEGw7ViXpg9T7YtwEVQeLUl63tmRRqxuJS1jn_/s200/Joe+Jimenez+.jpg" width="200" /></a></div>
<span style="font-family: Verdana, sans-serif;"><a href="http://joejimenez.net/"><b>Joe Jiménez</b></a> is the author of <i>The Possibilities of Mud</i> (Kórima
2014) and Brightest Noise (Arte Público 2016). Jiménez was the recipient
of the 2012 Alfredo Cisneros del Moral Prize and holds an MFA in Creative
Writing from Antioch University Los Angeles. The short film “El Abuelo,”
directed by Dino Dinco, based on Jimenez’s poem, has been screened in Belgium,
the Netherlands, Mexico, Argentina, Ireland, and the US. He lives in San
Antonio and is a member of the Macondo Workshops. His recent poems can be
found in Fourth River, Southern Humanities Review, Codex, and Borderlands Texas
Poetry Review. Joe recommended: </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"></span><br />
<ul style="font-family: Times;">
<li><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><a href="http://hawthornebooks.com/catalogue/the-chronology-of-water">Lidia Yuknavitch, <i>The Chronology of Water</i>, Hawthorne Books, 2010.</a></span></span></li>
</ul>
<ul style="font-family: Times;">
<li><span style="font-family: Verdana, sans-serif;"><a href="http://bostonreview.net/poetry/npm14-lynn-melnick-interview-carmen-gimenez-smith"><span style="font-family: Verdana, sans-serif;">Carmen Gimenez Smith, <i>Milk and Filth</i>, University of Arizona Press, 2013.</span></a></span></li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDYVUtQVm6x3M4Vtm90O_yeXXJYCSdBznYtnN1JzuKxzB3LnTt2HRk9o88lnT5Qxf8k0XCMFCrkx_zaIoKXExzqbS1A0ZscJwkkJlth6JTxGr0J3UgifqDCbyfXfZybFmsfi5dIL1iXaM5/s1600/Carol+Brochin.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDYVUtQVm6x3M4Vtm90O_yeXXJYCSdBznYtnN1JzuKxzB3LnTt2HRk9o88lnT5Qxf8k0XCMFCrkx_zaIoKXExzqbS1A0ZscJwkkJlth6JTxGr0J3UgifqDCbyfXfZybFmsfi5dIL1iXaM5/s200/Carol+Brochin.jpg" width="178" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b><a href="https://www.coe.arizona.edu/content/brochin-carol-0" target="_blank">Carol Brochin</a></b> is an Assistant Professor in the Department of
Teaching, Learning, and Sociocultural Studies at the University of Arizona. She
teaches courses on queer young adult and bilingual children’s literature as
well as literacy methods for bilingual teachers. Previously she worked as
a language arts teacher in her hometown Laredo, Texas. She has published
research articles and book chapters on young adult literature, bilingual
teacher preparation, and transnational literacies. She is currently writing a
young adult novel about a queer Chicana set on the US/Mexico border. Carol suggested:</span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<br />
<ul style="font-family: Times;">
<li><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><a href="http://www.mayagonzalez.com/childrensbooks/call-me-tree/">Maya Christina Gonzalez, <i>Call me Tree. Llámame árbol, </i>Lee & Low Books Inc., 2014.</a></span></span></li>
</ul>
<ul style="font-family: Times;">
<li><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><a href="http://algonquinyoungreaders.com/book/if-you-could-be-mine/">Sara Farizan, <i>If You Could Be Mine,</i> Algonquin Young Readers, 2013.</a></span></span></li>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLpBgf8xp0wETnB-owGSFCOg13Ut7JilZ7tfnWQ1YpJxI4e_GciIcc6jRECzfn7QZa06v8RkuJiiDl2gsLb16vXhBTrvjnvmXbVzIvo5Bo_3ZLFc99ovfV5K5Av3kWzn7baT0zpirKV4Q/s1600/Azure.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXLpBgf8xp0wETnB-owGSFCOg13Ut7JilZ7tfnWQ1YpJxI4e_GciIcc6jRECzfn7QZa06v8RkuJiiDl2gsLb16vXhBTrvjnvmXbVzIvo5Bo_3ZLFc99ovfV5K5Av3kWzn7baT0zpirKV4Q/s200/Azure.jpg" width="200" /></a></div>
<span style="font-family: Verdana, sans-serif;"><b><a href="http://azureosbornelee.com/">Azure Osborne-Lee</a></b></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"> is an award-winning artist and eccentric from south of
the Mason-Dixon Line. Driven by Aquarius rising, Azure has lived in Brooklyn,
Manhattan, Austin, Houston, London, and Chiapas in the past five years. A theatre
maker with an eye for detail, Azure is currently focusing on writing for the
stage. He pays the bills by working as an arts administrator and freelance
transcriptionist. Azure suggested: </span><br />
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<br />
<ul style="font-family: Times;"></ul>
<ul style="font-family: Times;">
<li><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><a href="http://knopfdoubleday.com/book/204834/god-help-the-child/">Toni Morrison, <i>God Help the Child, </i>Alfred A. Knopf, 2015.</a></span></span></li>
</ul>
<ul style="font-family: Times;">
<li><span style="font-family: Verdana, sans-serif;"><span style="font-family: Verdana, sans-serif;"><a href="http://www.harpercollins.com/9780060959470/all-about-love">bell hooks, <i>All About Love: New Visions, </i>HarperCollins, 2001.</a></span></span></li>
</ul>
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<span style="font-family: Verdana, sans-serif;"><i>How many of these 10 books have you already read?</i></span><br />
<span style="font-family: Verdana, sans-serif;"><i>What are you reading this summer?</i></span><br />
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span>
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<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-56310584263881231782015-05-28T15:15:00.001-04:002016-07-08T14:46:57.387-04:00DIY Panza Featuring Mariana Alegría & Trevor Boffone <!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVOWJ2oTRY2xsU5XZ8TCbZ7jQLPJQC1c_8IfAwnsw_xWbcfWwoKp4XPQBXnvUJtX5sFCreuue0xufy0gQC844GS8jah4hn5kxA-6zKJBYCT_Jpy8lsT76r76000pgUJDrerIwa_ZUi2CKe/s1600/Amaranto+Productions.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVOWJ2oTRY2xsU5XZ8TCbZ7jQLPJQC1c_8IfAwnsw_xWbcfWwoKp4XPQBXnvUJtX5sFCreuue0xufy0gQC844GS8jah4hn5kxA-6zKJBYCT_Jpy8lsT76r76000pgUJDrerIwa_ZUi2CKe/s400/Amaranto+Productions.jpg" width="400" /></a><i style="font-family: Verdana, sans-serif;">Over the years, </i><span style="font-family: "verdana" , sans-serif;">The Panza Monologues </span><i style="font-family: Verdana, sans-serif;">has taken on
different forms and has been distributed in many different ways - from solo
show to ensemble based performance, from DVD to Panza Parties, from book
readings to Performance Pláticas. Part DVD screening, part live book
reading (selections from </i><a href="http://utpress.utexas.edu/index.php/books/gripan" style="font-family: Verdana, sans-serif;" target="_blank">The Panza Monologues, 2nd Edition</a><span style="font-family: "verdana" , sans-serif;">), </span><i style="font-family: Verdana, sans-serif;">part community discussion, a Performance Plática
brings </i><span style="font-family: "verdana" , sans-serif;">The Panza Monologues</span><i style="font-family: Verdana, sans-serif;"> to your community through an
artist-led forum that blends teatro with conversation. </i><br />
<span style="font-family: "verdana" , sans-serif; font-style: italic;"><br /></span>
<span style="font-family: "verdana" , sans-serif; font-style: italic;">Recently, Amaranto Productions, a new Houston based theater
company, created a Panza Performance-Plática of their own. Mariana Alegría
co-founder and performer answers some questions from producer and co-founder
Trevor Boffone about their experience bringing </span><span style="font-family: "verdana" , sans-serif; font-style: italic;">The Panza
Monologues</span><span style="font-family: "verdana" , sans-serif; font-style: italic;"> to a whole new audience through a </span><span style="font-family: "verdana" , sans-serif; font-style: italic;">Panza Performance Plática that combines scholarship, performance and dialogue.</span><br />
<i style="font-family: Verdana, sans-serif;"><br /></i>
<i style="font-family: Verdana, sans-serif;">Our occasional blog series - "DIY PANZA" -
celebrates and profiles artists and their innovative use of </i><span style="font-family: "verdana" , sans-serif;">The Panza
Monologues, Second Edition</span><i style="font-family: Verdana, sans-serif;"> in their community. This series
features posts that showcase important, determined, and ingenious artists
of all kinds who are taking our work to the next level of its manifestation.
Are you producing </i><span style="font-family: "verdana" , sans-serif;">The Panza Monologues</span><i style="font-family: Verdana, sans-serif;"> in your community? We’d love
to hear your story – contact us! panzapower@gmail.com</i></div>
<span style="font-family: "verdana" , sans-serif;"></span><br />
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<span style="font-family: "verdana" , sans-serif;"><i><br /></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXaD465X2zho65R0zpCUgmLet6k9iNz-ZChYB06iqLY1HfjfaPszRavRV472uW6cR9XLmXHu569TR69DlA4kHwReQgo6tjwzVA1-oB-dC-UD4coELHH5VTX3PW3D__RFamH4sYFUmFKpvJ/s1600/To+All+the+Panzas+of+the+World%252C+with+Love.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXaD465X2zho65R0zpCUgmLet6k9iNz-ZChYB06iqLY1HfjfaPszRavRV472uW6cR9XLmXHu569TR69DlA4kHwReQgo6tjwzVA1-oB-dC-UD4coELHH5VTX3PW3D__RFamH4sYFUmFKpvJ/s320/To+All+the+Panzas+of+the+World%252C+with+Love.jpg" width="320" /></a><b>Mariana Alegría: </b>Although I am trained in the academic
world, sometimes I would much rather be acting than writing papers. One day, I
saw Trevor walking around with a purple book that said “panza” on the cover. To
me, that was an unspeakable word. I was so curious: who would title their play
that. I didn’t know about <i>The Panza Monologues</i> until Trevor
introduced me to it that day. I immediately fell in love with the text and
never returned the book! Trevor was writing an article about the play when we
decided to add the text our production company’s repertoire (Amaranto
Productions). Eventually, we decided to showcase our work. We started with the
toughest crowds: young college students who know how to question and challenge
everything they see!</span></div>
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<span style="font-family: "verdana" , sans-serif;"><b><br /></b>
<b>Trevor Boffone:</b> At the NACCS Tejas Foco in February, I
gave a paper about the politics of the panza and <i>The Panza Monologues’
</i>deep San Anto roots and asked Mariana to perform “The Prologue” to accompany my
talk. A week later, Stalina Villarreal, Director of Mexican-American and
Latina/o Studies at Houston Community College-Southeast, invited us to perform
a fleshed-out version of what we presented at NACCS Tejas Foco at her campus.
We developed "To All the Panzas of the World, with Love, a Panza
Performance Plática," to embody the intersections of performance and
scholarship, art and education, theatricality and textuality that our program
facilitates. After I introduced <i>The Panza Monologues,</i> Mariana
performed “The Prologue” and a new version of “Sucking It In.” Not that there
is anything wrong with “Sucking It In” as written in the published text, but
Mariana’s version used the idea of the panza pliers and adapted the work to fit
her own body, and thus created her very own panza story during the creative
process. After Mariana’s performance, I gave a (not-too-academic) lecture about
the piece followed by a reading of “My Sister’s Panza.” Originally, Mariana
wanted to do the piece, but during rehearsals, we decided to adapt the
monologue as a scene in which we both spoke about our sister’s struggle with
love, loss, and diabetes. Our performance bridged female and male, Latina and
Anglo, Spanish and English, and offered future possibilities of The Panza
Monologues as an adaptable community-engaged work that can meet the needs
of a variety of groups.</span><br />
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***<br />
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<div style="text-align: justify;">
<b style="font-family: Verdana, sans-serif;">Trevor:</b><span style="font-family: "verdana" , sans-serif;"> What was your inspiration for “Sucking It In?”</span></div>
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<b>Mariana: </b>My inspiration was the fact that we all have a
panza, no matter the size, no matter our history with it. We all have an
undiscovered source of power in our panzas—however, this same source of power,
can become the origin of suffering. So, my inspiration was that I pictured a
character that would go to any length to fit in, not only fit into her size
double zero jeans, but to “fit in,” both emotionally and physically to
society’s standards. In the end, although the character struggles with this,
she finds in the pair of pliers her way to negotiate, to deal, with her
struggle. I wanted my character to be a little oblivious to that and for the
audience to understand her struggle and see themselves in her excessive methods
to feel beauty. Because at the end of the day, I made my character feel
beautiful after all the struggling to “pull those jeans up.”</div>
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<b>Trevor: </b>What did you learn about yourself as an actor
tapping into your panza politics?<br />
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<b>Mariana: </b>That’s interesting because a member of the
audience asked me why I chose to do this piece and these monologues even
though, according to him, I have a “concave panza.” I learned a lot due to the
fact that I, as a person, have struggled with eating disorders and low
self-esteem. So, for me, to find various characters at different stages and
relationships with their panzas helped me as a performer to connect to a place
of power but also to a place that the text allows to be actualized. Ultimately,
as a performer I took the power away from this man in the audience and
channeled it through my body to speak truths about contemporary womanhood. I
took ownership of my truths and presented an authentic portrayal of my
struggles with my body image and self-esteem.</div>
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<b><br /></b>
<b>Trevor:</b> What piece did you connect with most?<br />
<br /></div>
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<div style="text-align: justify;">
<b>Mariana:</b> The piece I connected the most to as an actor
was “My Sister’s Panza.” It made me write my own panza story because I
could personally relate to that story. Sometimes we let people take away all
the power of our panzas, and I have been through the struggle of losing it,
making my panza suffer because of someone who made me feel like I wasn’t
enough—not beautiful enough, not skinny enough, not successful enough, not
smart enough, not good enough. And it was a long road to realize that I am more
than enough. But that road was… is… was… painful. It is painful. And it is a
never-ending process. I think anyone in the world can relate to that no matter
their gender, sexual orientation, political standpoint, etc.</div>
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<b><br /></b>
<b>Trevor: </b>What panza positive performance advice do you
have to share with future actors of <i>The Panza Monologues?</i></div>
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<b><br /></b>
<b>Mariana: </b>Before going into rehearsal it helps if you
understand your own relationship with your panza and its story. You need to
know the story of your panza because as Irma and Vicki say “When you listen to
the panzas of all the mujeres out there, you can hear the world according to
women. That’s the power of a panza story.” In order to perform the stories of
other women’s panzas, one has to be connected with their own story beforehand.
Also, in acting we learn that your core is the center of all emotions.
Therefore, connect to your panza! Conecta con tu centro. And don’t be self-conscious
about the size of your panza. We all have a panza and that’s what matters.</div>
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<b><br /></b>
<b>Trevor: </b>What is your favorite quote from <i>The Panza
Monologues?</i></div>
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<br /></div>
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<b>Mariana:</b> “…before you can get to the battle of the
chocha, we have another score to settle, another place on our beautiful bodies
to baptize, actualize, a place that had been demonized, sterilized, starved,
stuffed, covered over.” This quote is very relevant because as women
we sometimes think of our sexuality as our source of power but if you think
about it our panzas are a much more politicized place and highly demonized
source of power that we still have to explore.<br />
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***<br />
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<div style="text-align: justify;">
<b>About Mariana Alegria: </b>Mariana Alegría is a performer
and co-founder of Amaranto Productions. Mariana is currently a double-degree
Ph.D. candidate in Hispanic Studies and Arts Leadership at the University of
Houston where she is also a Fulbright Alumni and holds a Graduate Certificate
in Women’s, Gender, and Sexuality Studies. She has an MA in Acting from the
Birmingham School of Acting in the United Kingdom, a BA in Latin American
Literature from the Universidad Iberoamericana, and a degree in acting from the
Centro de Artes Dramáticas (CADAC) in Coyoacán, Mexico City. Her passion for
acting has always complimented her passion for writing. She has directed and
starred in a number of plays in Houston, Mexico City, and England, and is
currently researching the state of Chicana feminist theatre in the United
States, acting in solo performances, and working on her dissertation, as well
as writing her own plays.<br />
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<div style="text-align: justify;">
<b>About Trevor Boffone: </b>Trevor Boffone is a Ph.D.
candidate in the Department of Hispanic Studies at the University of
Houston. He researches the intersections of gender, sexuality,
and space in Chican@ and Latin@ Teatro and cultural production. His
dissertation research is a study of theater and performance in East Los
Angeles, focusing primarily on Josefina López’s role as a playwright, mentor,
and community leader in Boyle Heights at CASA 0101 Theater<a href="https://www.blogger.com/null" name="_GoBack"></a>.
He has published and presented original research on Chicana Feminist Teatro,
the body in performance, Queer Latinidad, as well as the theater of Adelina
Anthony, Nilo Cruz, Virginia Grise, Josefina López, Cherríe Moraga, Monica
Palacios, Carmen Peláez, and Estela Portillo-Trambley. He recently served as a
Research Fellow at LLILAS Benson Latin American Studies and Collections
for his project <i>Bridging Women in Mexican-American Theater from
Villalongín to Tafolla (1848-2014). </i><br />
<br />
For an earlier blog post by
Trevor about Panza Pedagogy click <a href="http://panzamonologues.blogspot.com/2014/12/pedagogy-of-panza-interview-with-trevor.html" target="_blank">HERE.</a><br />
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<!--EndFragment-->Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-80378885699191257262015-01-31T09:43:00.002-05:002015-01-31T10:11:19.583-05:00The Panza Monologues in Austin @ Teatro Vivo<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOPuY4p19EdVCkxxuwTDQIB8efLYFkK5ThSPMCBLZfgveTenH7nd4Q5ikRr2pTEQgKGv7kuANPRHUIirjMhe2C7p5NdjrrO1O31snj7QZdvSfJxwQeJThUXMglGFhaJdSbA03Ba77obct/s1600/tall+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVOPuY4p19EdVCkxxuwTDQIB8efLYFkK5ThSPMCBLZfgveTenH7nd4Q5ikRr2pTEQgKGv7kuANPRHUIirjMhe2C7p5NdjrrO1O31snj7QZdvSfJxwQeJThUXMglGFhaJdSbA03Ba77obct/s1600/tall+poster.jpg" height="400" width="306" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Panza Power arrives in full force in Austin this week!<span style="mso-spacerun: yes;"> </span><o:p></o:p>It's a quinceañera, 10 year reunion, and homecoming all in one panza packed week! </span></div>
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<span style="font-family: Verdana, sans-serif;"><a href="https://teatrovivoatx.wordpress.com/2015/01/10/the-panza-monologues/" target="_blank">Teatro Vivo</a> presents the <a href="https://www.facebook.com/events/329143947274430/?pnref=story" target="_blank">Austin premiere of the first independent production of <i>The Panza Monologues</i></a> in a production directed and performed
by Florinda Bryant and Deanna Deolloz with Eva McQuade. </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">A super smart interview with us about the upcoming production and all sorts of panza thoughts is featured in the Austin Statesman is now available online in English <a href="http://www.mystatesman.com/news/lifestyles/the-panza-monologues-shares-womens-stories-of-love/njxC9/?icmp=statesman_internallink_invitationbox_apr2013_statesmanstubtomystatesmanpremium#41d7f85f.3503368.735628" target="_blank">HERE</a> and in Spanish <a href="http://www.statesman.com/news/news/disfruta-de-los-monologos-de-la-panza-y-bombasta/njzxG/" target="_blank">HERE</a>.</span></div>
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<span style="font-family: Verdana, sans-serif;">
Also, Virginia will participate in post-performance question and answer discussions
after performances on Feb. 6 – 8.</span><o:p></o:p></div>
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<span style="font-family: Verdana, sans-serif;">Wanna go? </span></h4>
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<span style="font-family: Verdana, sans-serif;">Performances are February 5 – 21, Thurs. – Sat. 8pm and February 8 and 15
(Sundays) @ 2pm</span></div>
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<span style="color: windowtext; text-decoration: none; text-underline: none;"><span style="font-family: Verdana, sans-serif;">Emma S.
Barrientos Mexican American Cultural Center, 600 River Street Austin TX 78701.
Free parking is available to audience members.<o:p></o:p></span></span></div>
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<span style="font-family: Verdana, sans-serif;">Tickets $20 – $14. Tickets are available online at <span style="color: windowtext;"><a href="http://panza.bpt.me/">http://panza.bpt.me</a></span> or you may purchase tickets at
the theatre starting 30 minutes before the performance time. Thursdays are “pay
what you wish” only at the theatre box office beginning 30 minutes before show
time.<o:p></o:p></span></div>
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<o:p><span style="font-family: Verdana, sans-serif;"><br /></span></o:p></h4>
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<o:p><span style="font-family: Verdana, sans-serif;">Want more?</span></o:p></h4>
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<span style="font-family: Verdana, sans-serif;">Teatro Vivo will be offering a “Writing for
Performance Workshop” with Virginia on Saturday, February 7, 1 – 4PM at the Emma
S. Barrientos Mexican American Cultural Center. More information <a href="https://www.facebook.com/events/382622921919475/?ref_newsfeed_story_type=regular" target="_blank">HERE</a>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><br />About the workshop: Drawing from a long tradition of artists that identify and transform language
on all levels, this writing intensive series explores how memory, images,
emotion and stories live in the body. A focus on writing for performance though
no acting or performance experience is necessary. Open to artists of all
experiences and disciplines. Dress comfortably. Bring several pens and a new
journal.</span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<span style="font-family: Verdana, sans-serif;">
Fee for the workshop is on a sliding scale and includes a ticket to <i>The Panza
Monologues</i> performance. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></h4>
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<span style="font-family: Verdana, sans-serif;">Even More?</span></h4>
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<span style="font-family: Verdana, sans-serif;">In addition, join Virginia at these Austin appearances:<o:p></o:p></span></div>
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Feb. 6, "Fridays at 2" - A Conversation with Prof. Brian Herrera,
2-3:30pm at UT Austin, Winship Bldg. 2.112<br />
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Feb. 8, Book Signing & Reading of <i>T<a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">he Panza Monologues, Second Edition,</a> </i>5pm at <a href="http://www.resistenciabooks.com/" target="_blank">Resistencia Bookstore</a>, 4926 East Cesar Chavez St. For more info, go <a href="https://www.facebook.com/events/336279809899332/" target="_blank">HERE</a>.<br />
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Austin, we’re comin' for ya!</b> #showusyourpanza<o:p></o:p></span><br />
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-2715447809619203692015-01-07T23:37:00.001-05:002016-07-11T09:51:41.172-04:00The Year of The Panza<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMlMUkezKaJaUs26d8rltZLMJTdMzHcZ4mcu2FJESdzxdO73HSh2zXz9K1Aao-63kenqmancqqhMlLHbuy0YFwJedNLVYAjl52k-dcas7W0l30Ld23KzpOkRrLiHDtdIIz4Nnxja-VgxPo/s1600/Panza+in+Latina+Magazine_02+copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMlMUkezKaJaUs26d8rltZLMJTdMzHcZ4mcu2FJESdzxdO73HSh2zXz9K1Aao-63kenqmancqqhMlLHbuy0YFwJedNLVYAjl52k-dcas7W0l30Ld23KzpOkRrLiHDtdIIz4Nnxja-VgxPo/s1600/Panza+in+Latina+Magazine_02+copy.jpg" width="193" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">After getting a mention in <i>Latina Magazine's </i>December 2013 issue (c'mon who ever thought a fashion magazine would embrace the panza?) - <i><a href="http://utpress.utexas.edu/index.php/books/gripan">The Panza Monologues</a> </i>has found its way into new and exciting places all across the nation: from college classrooms to a women's prison, from the stage to the living room, from academic conferences to barrio bookstores. Needless to say - it's been a trip, ya'll! </span></div>
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<span style="font-family: "verdana" , sans-serif;">We officially launched <i>The Panza Monologues, 2nd Edition</i> book (published by The University of Texas Press) on Jan. 1st of last year. Ten years after the world premiere of <i>The Panza Monologues </i>play at ALLGO in Austin, Texas, our once panzita, now panzona book, is a year old. We are forever grateful to all the astounding, encouraging, affirming and rowdy panza allies we have met along the way. Gracias. Thank you. </span><br />
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<span style="color: magenta; font-family: "verdana" , sans-serif; font-size: small;">Here's a look back on the 10 most memorable </span></h3>
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<span style="color: magenta; font-family: "verdana" , sans-serif; font-size: small;">Panza moments </span><span style="color: magenta; font-family: "verdana" , sans-serif; font-size: small;">of
2014...</span></h3>
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1. In addition to our public readings in Arizona, Texas, Minnesota, and New York, <i>The
Panza Monologues, Second Edition</i> is read in front of over 50 women in a cafeteria at <a href="http://panzamonologues.blogspot.com/2014/06/the-panza-in-perryville-womens-prison.html">Perryville Women's Prison</a>. <span style="color: magenta;">A small group of them even perform their own Panza Monologue.
</span>Power to the Panza! <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNgjmrwY2PY2UqiV7yHra1IA-jnZyRKSLD6DRD9gNTq1dnZ8ATysgtm_zSNB_GZ7yYC9IxgpvSqNsvKruzCc0oaRP3MN84Nv_6VFzILyJDRKjlAxdLK3h5VF2JVMXKtJKEmIaL9N18QV7C/s1600/athe.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNgjmrwY2PY2UqiV7yHra1IA-jnZyRKSLD6DRD9gNTq1dnZ8ATysgtm_zSNB_GZ7yYC9IxgpvSqNsvKruzCc0oaRP3MN84Nv_6VFzILyJDRKjlAxdLK3h5VF2JVMXKtJKEmIaL9N18QV7C/s1600/athe.jpg" width="320" /></a></span></div>
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<span style="font-family: "verdana" , sans-serif;">2. <i>The Panza Monologues, Second Edition</i> is <span style="color: magenta;">a featured publication </span>on the <span style="color: magenta;">"Spotlight on New Works" panel for the Association for Theatre in
Higher Education (ATHE) </span>national conference in Scottsdale, AZ. And, an excerpt
of <i>The Panza Monologues </i>was performed by an ensemble of ATHE member/scholars and directed by Jason Ramirez. The performance was presented in an
evening of staged readings entitled <a href="http://panzamonologues.blogspot.com/2014/08/panza-with-profes.html">"Intimate Acts"</a> that also
included selected performances of work by playwrights Amiri Baraka, Cherríe Moraga, and Luis Valdez. </span></div>
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<span style="font-family: "verdana" , sans-serif;">3. For the first time ever, <span style="color: magenta;">a group of men host a Panza Party</span> - and in the Rio
Grande Valley no less - cuz men have panzas too!</span></div>
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<span style="font-family: "verdana" , sans-serif;">4. Using our "DIY Production Manual" (included in the 2nd Edition) as a guide, <span style="color: magenta;">students begin organizing and
producing <i>The Panza Monologues </i>on their college campuses, </span>including Mills College, UC
Riverside and <a href="http://panzamonologues.blogspot.com/2014/12/diy-panza-kayleigh-melite-at-suny.html">SUNY-Oneonta</a>.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1dLN41oA9Ei-cZQ79dDg4NkXSG2YaatYgIg6UTLQXMU0_QLnYX_Beh12Q_sssGQCqdD_IpGJObALS5lxlFS9sh8qi2k8_bAQunU4TuU99BjdCagcUZ7x7Zc9gKQjRFRiNWqtegkB-kxZf/s1600/casa+book+box.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1dLN41oA9Ei-cZQ79dDg4NkXSG2YaatYgIg6UTLQXMU0_QLnYX_Beh12Q_sssGQCqdD_IpGJObALS5lxlFS9sh8qi2k8_bAQunU4TuU99BjdCagcUZ7x7Zc9gKQjRFRiNWqtegkB-kxZf/s1600/casa+book+box.jpeg" width="320" /></a><br />
<span style="font-family: "verdana" , sans-serif;">5. <i>The Panza Monologues, Second Edition</i> <span style="color: magenta;">sells out at its NYC Book Release Party</span> at La Casa
Azul Bookstore, produced by <a href="http://www.radicalevolution.org/">Radical Evolution</a>. </span></div>
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<span style="font-family: "verdana" , sans-serif;">6. Over the summer, <span style="color: magenta;">we organize a <a href="http://panzamonologues.blogspot.com/2014/10/notes-from-china-chusma-fauxana-part.html">"Some Like it Hot South Texas Book Tour"</a></span> that
travels to 5 cities in 5 days, where we sold out of <i>The Panza Monologues, Second Edition</i> not once, but twice!</span></div>
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<span style="font-family: "verdana" , sans-serif;">7. <i>The Panza Monologues, Second Edition</i> <span style="color: magenta;">sells out at the Inaugural International Latina/o Studies
Conference</span> in Chicago, IL. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeVtO4Asvmwi20m9UiR-aKDDvS0uH6GiMv6bf7_JuCNRCpBNzLcrWOrLW9YgQFKQxijVH6xnq_hoP0LM6KeI0rxQBcBD5GgNVz9VLdDixr9f7ttKAr6hL2dpMdmq0D_FlRUHuWXxXHhL0o/s1600/monologues.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeVtO4Asvmwi20m9UiR-aKDDvS0uH6GiMv6bf7_JuCNRCpBNzLcrWOrLW9YgQFKQxijVH6xnq_hoP0LM6KeI0rxQBcBD5GgNVz9VLdDixr9f7ttKAr6hL2dpMdmq0D_FlRUHuWXxXHhL0o/s1600/monologues.jpg" width="200" /></a><span style="font-family: "verdana" , sans-serif;">8. <span style="color: magenta;">An excerpt </span>of "The International Panza" is published in
"<a href="http://www.smithandkraus.com/dev/monologues-for-latinoa-actors/">Monologues for Latino/a Actors: A Resource Guide to Contemporary Latino/a Playwrights for the Student and Teachers,</a>" edited by Micha Espinosa.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">9. <i>The Panza Monologues, Second Edition</i> makes Casa Azul Bookstore’s <span style="color: magenta;">Top 20 Bestselling Books in
2014 list. </span></span></div>
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<span style="font-family: "verdana" , sans-serif;">10. <a href="http://panzamonologues.blogspot.com/2014/06/pedagogy-of-panza-featuring-irene-mata.html" target="_blank">"</a><span style="color: magenta;"><a href="http://panzamonologues.blogspot.com/2014/06/pedagogy-of-panza-featuring-irene-mata.html" target="_blank">Panza Pedagogy"</a> is currently being taught, </span>through <i>The
Panza Monologues, Second Edition</i>, in classrooms across the nation including: UC Santa
Barbara, UC Riverside, Cal State Fullerton, Colgate University, SUNY Oneonta,
Fordham University, Wellesley College, UT-Pan Am, Cal State LA, the California Institute of the Arts, Mount Holyoke College,
Northwestern University, and Fresno State University. Thank you profes for embracing our panzas! <o:p></o:p></span></div>
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<o:p><span style="font-family: "verdana" , sans-serif;"> <span style="color: magenta;">* * *</span></span></o:p></div>
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<span style="font-family: "verdana" , sans-serif;">And if these notable events weren't enough...<i>wait until you see what we have
cooking for 2015!<o:p></o:p></i></span></div>
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<span style="font-family: "verdana" , sans-serif;">Our only New Year's resolution is to make this the year of
Puro Pinche Panza!<o:p></o:p></span></div>
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We're gonna kick it off in February with our 10 year reunion in Austin, Texas
where <a href="http://teatrovivoatx.wordpress.com/productions/2014-2015-quinceanera-season-2/">Teatro Vivo</a> will be producing an ensemble based, full production of <i>The Panza
Monologues. </i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">We hope to see you there! Ajua! <o:p></o:p></span></div>
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<span style="color: magenta; font-family: "verdana" , sans-serif;">ACTIVATE YOUR PANZA!</span></h3>
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<span style="font-family: "verdana" , sans-serif;">Enjoy reading <i>The Panza Monologues, Second Edition?</i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Share the love and help us out by writing reviews about <span style="color: windowtext; text-decoration: none; text-underline: none;"><i><a href="http://www.panzamonologues.com/#!book/cm3t" target="_blank">The Panza Monologues, Second Edition</a></i></span> on
GoodReads.com, or by inviting us for an interview (print, web, radio, podcast or
the like), or by writing a book review for a popular press, literary blog, or
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<span style="font-family: "verdana" , sans-serif;">You can also send us a note, take a picture on social media, or tag us with #panzamonologues if you see signs of the book anywhere near you!
We love to see the #panzamonologues on social media!</span><o:p></o:p></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-32243948623276087542014-12-17T14:10:00.001-05:002015-01-17T17:50:08.954-05:00Books in El Barrio: The Panza Monologues is a Bestseller at La Casa Azul Bookstore<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijyohmvBmHkPufRic_e7X1BIzmkFv4VblRvpndNO4fsKp1aAo2Y3AEwvlOR0o4GCdTns3QN9nxVkgXpoBtyNq477qdshS1awHGJ7cFHskC7dNykio7XJSHmqXYD_lspP9jGe5gSb36yfrj/s1600/Top+20.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijyohmvBmHkPufRic_e7X1BIzmkFv4VblRvpndNO4fsKp1aAo2Y3AEwvlOR0o4GCdTns3QN9nxVkgXpoBtyNq477qdshS1awHGJ7cFHskC7dNykio7XJSHmqXYD_lspP9jGe5gSb36yfrj/s1600/Top+20.jpg" height="262" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><br />We are so honored to announce that <i>The Panza Monologues </i>is on La Casa Azul Bookstore's <a href="http://luchalibrosnyc.blogspot.com/">Top 20 bestselling books in 2014</a> list. The list also includes writers such as Sonia Manzano, Junot Diaz, Willie Perdomo, Toni Ann Johnson, Esmeralda Santiago, Piri Thomas, and La Bruja to name just a few. Casa Azul hosted our <a href="http://panzamonologues.blogspot.com/2014/11/chicana-heavyweights-and-their-allies.html">New York City Book Release Party</a> produced by <a href="http://www.radicalevolution.org/">Radical Evolution</a> and just weeks ago Virginia Grise participated in their Authors as Booksellers Event. We are so grateful to be a part of this community and applaud their work promoting Latino/a Literature in El Barrio. Gracias <a href="http://panzamonologues.blogspot.com/2014/11/chicana-heavyweights-and-their-allies.html">Aurora Anaya Guerrero and Casa Azul Bookstore</a>! Now you have a list of which books to buy this holiday season! Support Independent Bookstores and Booksellers.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-37969039222161258222014-12-10T21:40:00.000-05:002016-07-08T14:47:25.666-04:00DIY Panza Featuring Kayleigh Melite at SUNY, Oneonta<br />
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<span class="Apple-style-span" style="color: #666666; font-family: "verdana" , sans-serif; font-weight: bold; line-height: 18px;"><i style="font-weight: normal;">This is the first post in a new series on our blog - "DIY Panza" - highlighting the work of college students and cultural workers that produce </i><span style="font-weight: normal;">Panza Monologues</span><i style="font-weight: normal;"> events of their own on their campuses and in their communities. </i></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222;"><span class="Apple-style-span" style="border-collapse: separate; color: #666666; font-family: "verdana" , sans-serif; font-weight: bold; line-height: 18px;"><span style="font-weight: normal;"><i>Over the years, students have produced</i> The Panza Monologues</span><i style="font-weight: normal;"> on college campuses across the nation, including Cal State Monterrey Bay, Cal State Long Beach, University of Colorado Boulder, Oregon State University, University of Texas at San Antonio, Mills College, and most recently, University of California Riverside and SUNY Oneonta. </i></span><span class="Apple-style-span" style="border-collapse: separate; color: #666666; font-family: "verdana" , sans-serif; font-weight: bold; line-height: 18px;"><i style="font-weight: normal;">We are always grateful, humbled and honored by these efforts because we know first hand just how hard it can be to make theater. </i></span></span><span class="Apple-style-span" style="border-collapse: separate; color: #666666; line-height: 18px;"></span><span class="Apple-style-span" style="color: #666666; line-height: 18px;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-weight: bold;"><i style="font-weight: normal;">Our second edition of the play in publication was specifically conceived of and designed to help make the process of making theatre just a little bit easier. </i></span></span><span class="Apple-style-span" style="color: #666666; font-family: "verdana" , sans-serif; font-weight: bold; line-height: 18px;"><i style="font-weight: normal;">We included numerous kinds of materials to accompany the script including a DIY Production Manual, full of guidelines, advice and good wishes for staging </i><span style="font-weight: normal;">The Panza Monologues</span><i style="font-weight: normal;">. </i></span><span class="Apple-style-span" style="border-collapse: separate; color: #666666; line-height: 18px;"></span><br />
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<span style="font-family: "verdana" , sans-serif;"><i style="font-weight: normal;">Kayleigh Melite recently used this manual to direct and produce </i><span style="font-weight: normal;">T</span><span style="font-weight: normal;">he Panza Monologues</span><i style="font-weight: normal;"> at SUNY Oneonta. </i><span style="font-weight: normal;"><i>We were impressed by her professionalism and care throughout the process - just look at her request letter to produce the show</i></span><i style="font-weight: normal;"> </i><span style="font-weight: normal;"><a href="http://www.slideshare.net/irmamayorga/panza-monologues-permissions-letter-from-suny-oneonta" target="_blank">HERE</a></span><i style="font-weight: normal;"> to see what we mean. Gracias Kayleigh for making our panzas yours. </i></span><br />
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<i style="font-weight: normal;"><span style="font-family: "verdana" , sans-serif;">Power to the Panza!</span></i></div>
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><b>Name: Kayleigh Melite <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyguGoP3tHnQYTBYi-bGBJUg8SgxoLHmDjSHW9DTosY5je8dEk5ER2QyaTEEtKR8RKpkc0kBsYmdXbc0Pw5Qz5-M20asTerUjW35Pky6kEtkZAKk5vuiHz0a1MAbA1wgG5zD9BzJIjnaT/s1600/This+Panza.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhyguGoP3tHnQYTBYi-bGBJUg8SgxoLHmDjSHW9DTosY5je8dEk5ER2QyaTEEtKR8RKpkc0kBsYmdXbc0Pw5Qz5-M20asTerUjW35Pky6kEtkZAKk5vuiHz0a1MAbA1wgG5zD9BzJIjnaT/s1600/This+Panza.jpg" width="294" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;">Kayleigh Melite</span></td></tr>
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><b>Hometown: Clifton Park, NY</b></span></div>
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">A lot of people who aren’t from New York don’t realize that there is more to the state than just a big, bustling city at the southeastern corner. I’m from a suburban town in Saratoga County, and have only been to “The City” a handful of times. When I do make a trip downstate, my favorite restaurant of all time is Bareburger. I come from a relatively large family and am the second oldest out of five children. </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGpbVkvmU1svcyC2UtRTmZ94DWt53ZA-RBWIhDeKEuX5-0ZPm_gCL51C6FJl1ZMIvo2LXj4Ymuxl3HZAwwnJ6JSOOLvFWmozzi-SaVdD-LBft4zGQGQZKmFCZQofteBs79ZZPoSm8d5F3g/s1600/panza+collage-01.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGpbVkvmU1svcyC2UtRTmZ94DWt53ZA-RBWIhDeKEuX5-0ZPm_gCL51C6FJl1ZMIvo2LXj4Ymuxl3HZAwwnJ6JSOOLvFWmozzi-SaVdD-LBft4zGQGQZKmFCZQofteBs79ZZPoSm8d5F3g/s1600/panza+collage-01.jpg" width="168" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><b>What school do you attend?</b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I’m currently a Senior at SUNY Oneonta, majoring in Biology
and minoring in Theatre. I have no idea what I want to do when I graduate.
Right now I’m President of the Theatre Honor Society on campus, which has just
partnered with another group that I’ve been involved with for the past few
years - The Identity Play Reading Series. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">The Identity Play Reading Series is a group of students,
faculty, and community members who seek to produce staged readings of
plays about different facets of identity, including but not limited to:
gender, ethnicity, age, disabilities, occupation, and interpersonal
relationships. We explore the differences, but more importantly the
similarities, between individuals. We hold an open dialogue at the end of each
staged reading to discuss the pertinent issues of the play and ask the
audience for their thoughts and reactions. I recently produced and
directed a staged reading of <i>The Panza Monologues</i> as part of the
series. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoOXH2Vnys971FztNRyK3hNifEhQJ9_Un6m1iQRfN8ewlGJtPiSPq3ngYbVS-69ol8aXjydec4ei4ik0DwQEkQMsZeYnwNWBWGcNOFshB5zk9ZGqgr0c0dA3wTpZlDNqW6vK_c0-ddmvde/s1600/panza+collage-02.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoOXH2Vnys971FztNRyK3hNifEhQJ9_Un6m1iQRfN8ewlGJtPiSPq3ngYbVS-69ol8aXjydec4ei4ik0DwQEkQMsZeYnwNWBWGcNOFshB5zk9ZGqgr0c0dA3wTpZlDNqW6vK_c0-ddmvde/s1600/panza+collage-02.jpg" width="168" /></a><span style="font-family: "verdana" , sans-serif;"><b>Can you describe the event you produced? </b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i>The Panza Monologues </i>was performed in the Hamblin
Theater, SUNY Oneonta’s black box space. I ended up casting four women to
tackle this one-woman show. One thing instilled in me by my experience with
collegiate theatre is that theatre is a collaborative art form. I wanted to
involve many students in my staged reading of <i>The Panza Monologues</i> for
this reason. Each one of my actresses/readers brought something unique to the
performance, and I tried to utilize their contrasting energies to bring alive
the stories in the script. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;"><b>What did you learn producing <i>The Panza Monologues </i>on
your campus? </b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">There was one significant challenge I faced while trying to
put together this staged reading: the majority of my campus is white. For
any other play this wouldn't matter, but <i>The Panza Monologues</i> calls
for a strong female lead that can speak Spanish fluently. I needed a woman
who could deliver the Spanish, and deliver it authentically. I am not
embarrassed to admit that I don’t even speak <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPYY5XtFL7mAnhkazm2kfpS_D_jFvnAJy0B25oTKrz3jbpuWPhNHfwWP83HN0C_vkB7RevwV3KFmm3eAPN8TuD02L08oXL7v6dtznDFkccsze03NM034YxOfbFAFxBi6ZlUwDvgDNSxkRr/s1600/panza+collage-03-02.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPYY5XtFL7mAnhkazm2kfpS_D_jFvnAJy0B25oTKrz3jbpuWPhNHfwWP83HN0C_vkB7RevwV3KFmm3eAPN8TuD02L08oXL7v6dtznDFkccsze03NM034YxOfbFAFxBi6ZlUwDvgDNSxkRr/s1600/panza+collage-03-02.jpg" width="165" /></a><span style="font-family: "verdana" , sans-serif;">Spanish myself. I know some of the basics, and can
understand some Spanish if I’m reading it, but I sure as heck can’t roll my r’s
or pronounce the tricky stuff. Even so, I have a good ear and could tell
right away when I found the right actress/reader to carry the Spanish-intensive
stories. When she and I both got stuck on some of the language, Dr. Alvarez of
SUNY Oneonta’s Africana and Latino Studies Department was there to guide
us. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">In our post-performance discussion, somebody asked me why I
chose to direct <i>The Panza Monologues.</i> My reply was this: I’m
very picky when it comes to directing. I had been reading a bunch of scripts
because I knew I wanted to direct a staged reading, but nothing was grabbing my
attention. One of my peers had a copy of The Panza Monologues and let
me borrow it. I wasn’t even halfway through when I knew I absolutely had to do
it. I heard that little voice that said, “Direct me!” The script was funny. It
was sad. It was so many things at once. I think that everybody has experienced
something the play addresses, or at least knows somebody that has. <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">In our discussion we also talked about how important <i>The
Panza Monologues</i> is, regardless of one’s ethnicity. There is a certain
universality that arises when we realize that we all have a panza. At
the same time, the script does contain material that is specific to the
Chicano/a experience. Two of my actresses/ readers expressed how good it felt
to be part of a production that was relevant to them because of their family’s
heritage. The feeling of empowerment was an overall theme that many people took
away from the performance.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Our staged reading of <i>The Panza Monologues</i> was the
best-attended reading that The Identity Play Reading Series has produced thus
far, or at least since I’ve been involved. It meant the world to me that so
many people were there to listen with their ears and with their hearts. </span></div>
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<b style="font-family: Verdana, sans-serif;">What is your favorite quote from <i>The Panza Monologues?</i></b></div>
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<span style="font-family: "verdana" , sans-serif;">My favorite quote is definitely, "I decide not to
tell them that the blood of the conqueror takes up more space than anything
else inside my body..." - "The International Panza" <o:p></o:p></span></div>
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First and foremost, I think this line is hilarious. During rehearsals I would
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Choosing to tell them or choosing to not tell them certainly depends
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<span class="Apple-style-span" style="color: #666666; font-family: "verdana" , sans-serif; font-size: 13px; font-weight: bold; line-height: 18px;"><span style="font-weight: normal;">Do you want to stage a full production or reading of <i>The Panza Monologues? </i></span></span></div>
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2933103845993959787.post-18341777886890910812014-12-04T12:10:00.000-05:002016-07-08T14:47:50.595-04:00Pedagogy of the Panza Featuring Trevor Boffone<div class="s5">
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<span style="font-family: "verdana" , sans-serif;"><i style="font-weight: normal;">Each and every time we learn of a teacher, activist, scholar, artist, professor, organizer, coordinator, or facilitator who is or has used </i><span style="font-weight: normal;">The Panza Monologues</span><i style="font-weight: normal;"> as a teaching tool, we are extremely gratified and thankful. Our second edition of the play in publication was specifically conceived of and designed to help facilitate its use in classrooms of all kinds. We included numerous kinds of materials to accompany the script in order to inspire its use as a wide reaching teaching tool.<o:p></o:p></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i style="font-weight: normal;">Our occasional blog series - "<a href="http://panzamonologues.blogspot.com/2014/06/pedagogy-of-panza-featuring-irene-mata.html">Pedagogy of the Panza</a>" - celebrates and profiles teachers and their innovative instruction using </i><span style="font-weight: normal;">The Panza Monologues, Second Edition.</span><i style="font-weight: normal;"> This series features posts that showcase important, determined, and ingenious teachers of all kinds who are taking our work to the next level of its manifestation. Are you using </i><span style="font-weight: normal;">The Panza Monologues, Second Edition </span><i style="font-weight: normal;">in your classroom? We’d love to hear your story – contact us! <a href="mailto:panzapower@gmail.com" style="color: #8832ff; text-decoration: none;">panzapower@gmail.com</a><o:p></o:p></i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCuIJgF5rsTdcDswY2s9wRJTx_-ts9ajIgd0M36nS_UI3IRJlYFkEhZ-kFbcyOd94iRmChtg1olYuts17wm0ddvWGYB3Dz3KO0VGA3Dup0DUHHo5XSBaRmyW3jsW82HP0IL4rbKFnIUnh/s1600/Pedagogy+of+the+Panza+-+Boffone.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggCuIJgF5rsTdcDswY2s9wRJTx_-ts9ajIgd0M36nS_UI3IRJlYFkEhZ-kFbcyOd94iRmChtg1olYuts17wm0ddvWGYB3Dz3KO0VGA3Dup0DUHHo5XSBaRmyW3jsW82HP0IL4rbKFnIUnh/s1600/Pedagogy+of+the+Panza+-+Boffone.jpg" width="300" /></a></div>
<span class="s2" style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><span class="s2">Trevor Boffone is a Ph.D. candidate in the Department of Hispanic Studies at the University of Houston. </span><span class="s2">He</span><span class="s2"> </span><span class="s2">researches</span><span class="s2"> the intersections of gender, sexuality, and space in Chican@ and Latin@ Teatro</span><span class="s2"> and cultural production</span><span class="s2">. His dissertation research is a study of theater and performance in East Los Angeles, focusing primarily on Josefina López’s role as a playwright, mentor, and community leader in Boyle Heights</span><span class="s2"> at CASA 0101 Theater</span><a href="https://www.blogger.com/blogger.g?blogID=2933103845993959787" name="_GoBack"></a><span class="s2">. He has published and presented original research on Chicana Feminist Teatro, the body in performance, Queer Latinidad, as well as the theater of Adelina Anthony, Nilo Cruz, Virginia Grise, Josefina López, Cherríe Moraga, Monica Palacios, Carmen Peláez, and Estela Portillo-Trambley. He recently served as a Research </span><span class="s2">Fellow at LLILAS Benson Latin American Studies and Collections for his project </span><span class="s6" style="font-style: italic;">Bridging Women in Mexican-American Theater from Villalongín to Tafolla (1848-2014)</span><span class="s2">.</span></span> </span></div>
<span style="font-family: "verdana" , sans-serif;"><span class="s2" style="background-color: rgba(255, 255, 255, 0);"><br /></span><span class="s2" style="background-color: rgba(255, 255, 255, 0);"><b>Name: Trevor Boffone</b></span></span><br />
<span class="s2" style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b>Hometown: New Orleans </b></span><br />
<span style="font-family: "verdana" , sans-serif;"><b><span class="s2" style="background-color: rgba(255, 255, 255, 0);">Currently living in Houston, Tejas</span><span style="background-color: rgba(255, 255, 255, 0);"> </span></b></span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b>Where do you teach? </b></span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;">University of Houston in the Department of Hispanic Studies</span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b><span class="s2">In what class/type of class did you use </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2"> in?</span></b></span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><span class="s2">I used </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2"> for a guest lecture in </span><a href="http://andrewpegoda.com/"><span class="s7">Andrew Joseph </span><span class="s7">Pegoda</span></a><span class="s2">’s</span><span class="s2"> Texas History class at Alvin Community College. </span><span class="s2">I normally teach Spanish language courses so I jumped at the opportunity to teach </span><span class="s2">Teatro</span><span class="s2">.</span></span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b><span class="s2">Why did you choose to teach </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2"> in your class?</span></b><span class="s2"></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span class="s2">Given that I was teaching </span><span class="s2">students who had never come in contact with Chican@/Latin@ Teatro before, I wanted to give them a glimpse into the type of</span><span class="s2"> work being done today. </span><span class="s2">I wanted them to recognize that this is a li</span><span class="s2">ving and breathing movement, one that</span><span class="s2"> is </span><span class="s6" style="font-style: italic;">still </span><span class="s2">actively</span><span class="s2"> being</span><span class="s2"> shaped. </span><span class="s2">I chose </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2"> because I thought students would recognize the different themes that the play presents. </span><span class="s2">Even one older man claimed that he had used pliers to pull up his zipper on more than one occasion! </span><span class="s2">The </span><span class="s2">monologues offered a nice balance between comedy, drama, activism, feminism, theory, etc. Therefore, I was able to introduce and tackle many key themes in a short period of time and hopefully motivate the students to seek out more information. </span></span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b><span class="s2">How did you teach </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2"> (any fun or meaningful activities or </span><span class="s2">panza</span><span class="s2"> teaching tools you want to share)?</span></b></span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><span class="s2">Since I was teaching in a h</span><span class="s2">istory course, </span><span class="s2">I helped students </span><span class="s2">make connections between the play and</span><span class="s2"> how history is </span><span class="s2">(re)</span><span class="s2">constructed. In particular</span><span class="s2">,</span><span class="s2"> I wanted students to consider how contemporary works like </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2"> alter and (re)construct </span><span class="s2">Tejan</span><span class="s2">@ memory.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Trevor Boffone with Xicana playwright/<br />performer Adelina Anthony</span></td></tr>
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<span style="font-family: "verdana" , sans-serif;"><span style="background-color: rgba(255, 255, 255, 0);"><span class="s2"><span style="background-color: rgba(255, 255, 255, 0);"><span class="s2">I</span></span><span class="s2"> began the lesson </span><span class="s2">by</span><span class="s2"> discus</span><span class="s2">sing San Antonio’s role as an important</span><span class="s2"> city for culture, history, and theater since the </span><span class="s2">early 1900s (and before)</span><span class="s2">. I gave students a brief introduction to itinerant and resident companies that performed in San Antonio, focusing on the Carlos Villalongín Dramatic Company, which took permanent residence in San Antonio in 1910 due to the Mexican Revolution. San Antonio </span><span class="s2">as a hotbed of Mexican/Mexican</span><span class="s2">-American theatrical activity </span><span class="s2">throughout the first half of the 20th </span><span class="s2">century is </span><span class="s2">important</span><span class="s2">. By offering </span></span></span><span class="s2">a </span><span class="s2">glimpse </span><span class="s2">into the work done by </span><span class="s2">mujeres</span><span class="s2"> such as Concepció</span><span class="s2">n </span><span class="s2">Hérnandez</span><span class="s2">, Virginia </span><span class="s2">Fábregas</span><span class="s2">, </span><span class="s2">Josefina </span><span class="s2">Niggli</span><span class="s2">, Ly</span><span class="s2">dia Mendoza, La </span><span class="s2">Chata</span><span class="s2"></span><span class="s2">Noloesca</span><span class="s2"> (Beatriz </span><span class="s2">Escalona</span><span class="s2">)</span><span class="s2">, we briefly discussed what it meant for women to be the leading performers at this time. In this way, I demonstrated how Grise and </span><span class="s2">Mayorga’s</span><span class="s2"> work fits within a contin</span><span class="s2">uum of Latina </span><span class="s2">theater in Tejas that centers o</span><span class="s2">n women as principal performer</span><span class="s2">s occupying public space(s)</span><span class="s2">.</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><span class="s2">Once we arrived </span><span class="s2">at</span><span class="s2"> </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2">, the focus shifted to the different historical markers in the </span></span><span class="s2">text as well as how the panza </span><span class="s2">is used to tell deeper stories about the Latin@ community in </span><span class="s2">San Antonio. </span><span class="s2">For instance, u</span><span class="s2">sing “My Sister’s </span><span class="s2">Panza</span><span class="s2">” and “Las </span><span class="s2">Noticias</span><span class="s2">,” I guided students on a discussion about the intersections of race, class, age, gender, and obesity while also emphasizing the importance of food in culture.</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b><span class="s2">Why is </span><span class="s6" style="font-style: italic;">The Panza Monologues</span><span class="s2"> important to your fie</span><span class="s2">ld of study? </span></b></span><b><span class="s2">What conversations</span><span class="s2"> did the book raise?</span></b></span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><span class="s2">E</span><span class="s2">ven though I was teaching in a h</span><span class="s2">istory course, the students were open-minded about how theatre can be </span><span class="s2">used as </span><span class="s2">a lens t</span><span class="s2">hrough which to </span><span class="s2">view history. </span><span class="s2">While not h</span><span class="s2">istory per se, theater is a mirror that allows us to reflect on the past and remember or forget certain things. Just like film, literature, </span><span class="s2">and/</span><span class="s2">or music, theater should be given more weight in how i</span><span class="s2">t</span><span class="s2"> constructs cultural and historical memory.</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><span class="s2">For example</span><span class="s2">, “The International Panza” a</span><span class="s2">llowed us to consider how Tejan@ </span><span class="s2">memory is created and </span></span><span class="s2">maintained. The shouts of </span><span class="s2">Chicana, Aztlán, Broken Treaties, Border Crossing</span><span class="s2">, and </span><span class="s2">the Mexican-American War</span><span class="s2">,</span><span class="s2"> </span><span class="s6" style="font-style: italic;">La </span><span class="s6" style="font-style: italic;">Migra</span><span class="s2">,</span><span class="s2"> and</span><span class="s2"> the Treaty of Guadalupe facilitated a dialogue about how and why </span><span class="s2">these different things are still pertinent to Chica</span><span class="s2">n</span><span class="s2">@ and Latin@ identity in Tejas. Many of the students were familiar with the</span><span class="s2">se</span><span class="s2"> terms/ideas, but weren’t sure exactly how they were connected or how these legacies still affect Chican</span><span class="s2">@</span><span class="s2"> and Latin@ identity and experience in contemporary </span>Tejas.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Trevor Boffone with Chicana <br />playwright Josefina López</span></td></tr>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b><span class="s2">What did you learn about your teaching or about your students from teaching <i>The Panza Monologues? </i></span></b></span></div>
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<span class="s2" style="font-family: "verdana" , sans-serif;">I was nervous beforehand that students wouldn’t embrace theater as a tool to study history, but I was surprised at how open-minded they were. Some even commented that they didn’t quite see the point, but by the end of the class, they were asking for more plays and resources. Many students didn’t realize that Latin@ theater is alive and well in Tejas. I think that by choosing to teach such a contemporary piece, students left the class recognizing that </span><span class="s2" style="font-family: "verdana" , sans-serif;">Tejan</span><span class="s2" style="font-family: "verdana" , sans-serif;">@ culture is thriving and accessible to them if they choose to seek it out. </span></div>
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<span style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;"><b><span class="s2">Favorite Quote from </span><span class="s6" style="font-style: italic;">The</span><span class="s6" style="font-style: italic;"> Panza Monologues</span><span class="s2"> Book?</span></b></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span class="s2" style="background-color: rgba(255 , 255 , 255 , 0); font-family: "verdana" , sans-serif;">“Don’t trust skinny people, and don’t eat at their houses.” </span>– “Panza Girl Manifesto”</span></div>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-62143658742032887892014-11-21T00:36:00.000-05:002015-04-03T23:26:28.613-04:00Spotlight on Aurora Anaya-Cerda <span style="font-family: Verdana, sans-serif;"><a href="http://www.whitehouse.gov/champions/crowdfunding/aurora-anaya-cerda-" target="_blank">Aurora Anaya-Cerda</a> is the founder of <a href="http://www.lacasaazulbookstore.com/" target="_blank">La Casa Azul Bookstore</a>, East Harlem’s only independent bookstore and the only bookstore in New York that features art and writing by Latin@ writers. Established in 2012 and funded in-part by a crowd funding campaign on Indiegogo, La Casa Azul Bookstore has become a cultural hub in the city, providing programs, classes and readings, from local artists to nationally recognized writers and performers. Ms. Anaya-Cerda is also the founder of the East Harlem Children’s Book Festival—an event that connects authors, publishers, families and the community as a whole. </span><br />
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<span style="font-family: Verdana, sans-serif;">We love Casa Azul and consider it one of our artistic homes. </span><a href="http://www.radicalevolution.org/" style="font-family: Verdana, sans-serif;" target="_blank">Radical Evolution</a><span style="font-family: Verdana, sans-serif;"> recently produced the East Coast book release reading and party of </span><i style="font-family: Verdana, sans-serif;"><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues, Second Edition</a> </i><span style="font-family: Verdana, sans-serif;">at La Casa Azul. We completely sold out of books but don't worry - Aurora ordered more copies! </span><br />
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<span style="font-family: Verdana, sans-serif;">Next week, Virginia will participate in Casa Azul's Authors as Booksellers Event. She will be selling books at the bookstore November 29th on </span><a href="http://luchalibrosnyc.blogspot.com/" style="font-family: Verdana, sans-serif;" target="_blank">Small Business Saturday</a><span style="font-family: Verdana, sans-serif;">. Come see what books she recommends for the holidays!</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Aurora Anaya-Cerda in front of La Casa Azul <br />Bookstore</span></td></tr>
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<span style="font-family: Verdana, sans-serif;"><b>Why did you open Casa Azul Bookstore?</b></span><br />
<span style="font-family: Verdana, sans-serif;">As an artist, educator, and entrepreneur, La Casa Azul Bookstore is a reflection of who I am and the goals that I have to feature Latino/Chicano writers. One of the reasons why I decided to open La Casa Azul Bookstore was because Chicana/o literature was critical in my own education and identity. Growing up, I read everything I could get my hands on, from cereal boxes, to magazines and comics, but reading work by Chicana/o writers connected me to stories that I could relate to. When I discovered Chicana/o writers like Sandra Cisneros and Rudolfo Anaya, I connected to their stories and then began seeking out more books that reflected my identity and experience. By then I was already in high school, and I wished I had read about them earlier!</span><br />
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<span style="font-family: Verdana, sans-serif;">When I moved to East Harlem from East LA at 27, I decided to make my dream of having a bookstore a reality and I dedicated myself to learning about bookselling. I fell in love with El Barrio, its history, food and art – but there wasn’t a bookstore at that time. I decided to open La Casa Azul Bookstore because I wanted a bookstore in my neighborhood – I was fortunate to have the support of hundreds of readers and fans, when I launched the $40Kin40days campaign and made the bookstore a reality. But that didn’t happen overnight, for six years I took business classes, worked and volunteered IN SIX bookstores, and traveled the country meeting with booksellers studying diverse business models.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Kai Diata Giovanni, Guest reader extraordinaire at <br /><i>The Panza Monologues, Second <br />Edition </i>Book Release Party at <br />La Casa Azul</span></td></tr>
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<b><span style="font-family: Verdana, sans-serif;">Tell us about choosing a location for the </span></b><b><span style="font-family: Verdana, sans-serif;">bookstore. Why El Barrio? What finally </span></b><b><span style="font-family: Verdana, sans-serif;">swayed you to your present address?</span></b><br />
<span style="font-family: Verdana, sans-serif;">I moved from Los Angeles to El Barrio because I love this neighborhood. I learned about East Harlem’s history and saw many parallels between East Harlem and my neighborhood back home – East LA. I worked at East Harlem Tutorial Program and at El Museo del Barrio – both were walking distance from my apartment and immersed myself in the neighborhood – visiting galleries, cafes and community spaces. The decision to open a bookstore in El Barrio was intentional – I was asked to consider other neighborhoods, and even other states – but I noticed that one space was missing in East Harlem, a place to buy </span><span style="font-family: Verdana, sans-serif;">books in the neighborhood.</span><br />
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<b><span style="font-family: Verdana, sans-serif;">Tell us about your goals for author readings - what do you hope the events "do" for your </span></b><b><span style="font-family: Verdana, sans-serif;">customers?</span></b><br />
<span style="font-family: Verdana, sans-serif;">La Casa Azul Bookstore aims to create a business that is much more than your average retail store by being the literature hub in East Harlem. We serve as the third place, a community meeting space. </span><span style="font-family: Verdana, sans-serif;">Since opening the store 2 and a half years ago (June 1, 2012) we have held over 500 events, ranging from book clubs, author signings, gallery shows, film screenings, conferences and writer’s conferences and workshops. For children we’ve had art, music and dance classes on a seasonal basis, and a bilingual storytelling hour every Saturday.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5MSTKKkC_AAzPbMJfyN13M5LaDFVH00F7GdoDb0NSeMLFmY2NOFiTHjOAzY0xHRi-Y5_N8V3xr4Jl3HX8elIjp2P9Nb9UWpzwIMOvJ5GXIBZHvHd6Z8gJODqLqvccFDeISJ5tUBrOQHU5/s1600/image+(3).jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5MSTKKkC_AAzPbMJfyN13M5LaDFVH00F7GdoDb0NSeMLFmY2NOFiTHjOAzY0xHRi-Y5_N8V3xr4Jl3HX8elIjp2P9Nb9UWpzwIMOvJ5GXIBZHvHd6Z8gJODqLqvccFDeISJ5tUBrOQHU5/s1600/image+(3).jpeg" height="320" width="320" /></a><b><span style="font-family: Verdana, sans-serif;">What's been one of the most memorable reading events by an author you have had and why?</span></b><br />
<span style="font-family: Verdana, sans-serif;">We have neighbors, educators, tourists, and many local artists visit the bookstore. Once, <a href="http://www.soniamanzano.com/" target="_blank">Sonia Manzano</a> (</span><span style="background-color: white; color: #222222; line-height: 16.1200008392334px;"><span style="font-family: Verdana, sans-serif;">Maria on <i>Sesame Street </i>since 1971) </span></span><span style="font-family: Verdana, sans-serif;">stopped by to purchase a book, while her cab waited outside to take her to the airport. We also have surprise visits by <a href="http://www.junotdiaz.com/" target="_blank">Junot Díaz</a>; that is what is great about being in a city that is home to many great writers – you never know who will stop by!</span><br />
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<span style="font-family: Verdana, sans-serif;">With over 500 events held at the store, it’s difficult to choose just one – but one of the most memorable was hosting <a href="http://www.sandracisneros.com/" target="_blank">Sandra Cisneros</a> in the Fall 2012: <i>The House on Mango Street</i> was the first book in which I saw my reflection. Oh! I also love when I overhear customers say: “I wish this bookstore existed when I was a child – I am so happy La Casa Azul Bookstore is here.”</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: x-small;">Playwright Migdalia Cruz reading at La Casa <br />Azul's Panza Monologues' East Coast Book <br />Release party, September 2014</span></td></tr>
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<b><span style="font-family: Verdana, sans-serif;">What has been your biggest challenge as a small business entrepreneur?</span></b><br />
<span style="font-family: Verdana, sans-serif;">As an entrepreneur I have the same challenges that many other small business owners have: time management, store finances, the never ending to-do list.</span><br />
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<span style="font-family: Verdana, sans-serif;">As a bookstore owner, I know about Amaz*n’s presence online and the appeal there is to order books online. There have been some frustrating moments: customers make a list of books they will buy online, or being told that they only shop online for books. We use those moments to let our customers know that the benefits of supporting La Casa Azul Bookstore. Spending a few extra dollars has many more benefits that outweigh the free shipping option on Amaz*n. The extra dollars spent at La Casa Azul Bookstore pay for our knowledgeable staff, creative programming, carefully curated selection of books and the sales tax we are required to pay NY state – and keep a brick and mortar space open for business.</span><br />
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<span style="font-family: Verdana, sans-serif;"><b>What are your hopes for the future of the bookstore?</b></span><br />
<span style="font-family: Verdana, sans-serif;">Digital publishing has impacted the traditional bookselling model, but it is key for bookstores/businesses to be flexible. Being open to changing with the times is what will help La Casa Azul Bookstore stay open and be the place in El Barrio where convergence occurs, where people </span><span style="font-family: Verdana, sans-serif;">come together to discuss ideas, share information, meet artists and authors. What digital platform offers that?</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">Copies of <i>The Panza Monologues, Second Edition </i><br />arrive at La Casa Azul</span></td></tr>
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<span style="font-family: Verdana, sans-serif;"><b>What is your favorite quote from <i>The Panza Monologues</i> book?</b></span><br />
<span style="font-family: Verdana, sans-serif;">“You will learn your abuelita’s remedios – aceite de olivo calientito, un tecito de canela o manzanilla. Curaras con tus propias manos.” -from Historia</span><br />
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<span style="font-family: Verdana, sans-serif;">My grandmother was a healer – she used aceite and teas to make me feel better. Her warm hands healed me much faster than any pill – her hands transferred love and strength to my panza.</span><br />
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<span style="font-family: Verdana, sans-serif;">***</span><br />
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<span style="font-family: Verdana, sans-serif;">When not at the bookstore, Aurora is with friends, exploring New York, reading a good book or </span><span style="font-family: Verdana, sans-serif;">cooking! – making her panza very happy. The Panza Monologues made Casa Azul's 2014 Bestseller List. Read more about it <a href="http://panzamonologues.blogspot.com/2014/12/the-panza-monologues-is-bestseller-at.html">HERE</a>. You can buy your copy of <i>The Panza Monologues </i>at La Casa Azul Bookstore at 143 E 103rd St, New York, NY 10029. If you are not in New York, they will deliver the book right to your doorstep! Support independent bookstores.</span><br />
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-20002508520311667772014-10-30T01:33:00.000-04:002014-10-30T23:25:12.554-04:00Notes from a China Chusma Fauxana: Part two of a two-part series on The Panza Monologues South Texas Book Tour<!--StartFragment-->
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<span style="font-family: Arial, Helvetica, sans-serif; font-size: xx-small;"><i>Note: This is the second post of a two part series on </i>"The
Panza Monologues <i>Some Like it Hot South Texas Book Tour." This post
is penned by </i>Panza Monologues<i> co-creator, Virginia Grise who read
from </i>The Panza Monologues, Second Edition <i>in five South Texas cities
in five days at diverse venues such as an independent bookstore, a university,
an art museum, and also in people's homes. Read part one of the series <a href="http://panzamonologues.blogspot.com/2014/10/panza-chusmology-part-one-of-two-part.html" target="_blank">HERE</a> </i><i>written
by the tour’s producer, Joshua Inocencio.</i></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Maria Salazar reads her poem</span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">"Panza to Panza" from</span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;"><i>The Panza Monologues.</i></span></td></tr>
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<span style="font-family: Verdana, sans-serif;">A friend of mine jokes that I am not a real Tejana – I am
more fauxana, he says. And he's right. My mother is a Chinese-Mexican
immigrant, my father a working class white man from Goshen, Indiana and I was
born in Ft. Gordon, Georgia. We moved to San Antonio when I was three because
it was close to the border and my mother’s family in Monterrey and also because
with 5 military bases (San Anto is known as Military City USA) my father and
our family could enjoy all the benefits of his early retirement from the Army,
including free healthcare. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">My family actually has no real roots or ties to Texas but
like many Tejanos whose families have lived in Texas for generations, when
Texas was Tejas, even before the battle of the Alamo, when Texas was
Coahuiltecan land, I feel a connection to that tierra. A feeling that is
more than just displaced nostalgia – home after all is a four-letter word. I
think what that feeling is actually about is about fighting for something to
call my/our own. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">While I grew up in a Mexican majority city, I knew from a
very early age that there were men in suits making decisions about the future
of the city without consideration for people like me or my family. I began
organizing at age 16. From strategic planning meetings to international
solidarity campaigns, from street theatre to federal lawsuits, from Marxist
study groups to popular education models - multi-issue activism and community organizing
was a central part of my life until I left TX at age 30. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">I was reminded of these early activista days when I returned this
summer to launch <a href="http://www.brownsvilleherald.com/news/local/article_322cdfc6-2b3a-11e4-908e-001a4bcf6878.html?mode=jqm" target="_blank"><i>The Panza Monologues</i> South Texas Book Tour.</a> Chicano theatre was
born from political struggle and rooted in oppositional politics after all, but I didn’t
grow up in theatre nor did I grow up listening to stories about the carpas and
artists like <a href="http://www.amazon.com/Chicanas-Latinas-American-Theatre-Performance/dp/0253337143" target="_blank">La Chata Noloesca</a>, and I didn’t attend the historic <a href="http://www.katavila.com/articles/teatro-chicano/tenaz-xvi-text.html" target="_blank">TENAZ</a> conference
in 1992, though I was living in San Antonio at the time. I did not yet know I
was a theatre artist, but I did grow up in a home that valued poetry,
storytelling, a wild imagination, ceremony, and of course the party. Our house
was never starved for drama - though the theatre making would come much later…<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">On those long drives this summer, under the expansive Texas sky, I thought a lot
about how my experience in community organizing influences my work as an artist
and how being raised in Texas affects the way I think about theatre. These are just a few notes I jotted down in between book readings, panza parties, writing workshops, visits to the ocean, and chasing down UPS workers.</span></div>
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<span style="font-family: Verdana, sans-serif;">Thinking Beyond the Black Box</span></h4>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">I had to chase down this UPS worker to get our </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">second </span><span style="font-family: Verdana, sans-serif; font-size: xx-small;">batch of books.</span></td></tr>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b>Performing Text. </b>Before Photoshop and
before I started losing my eyesight – I was a master zine maker. I could work
magic with a box cutter and a roll of tape and I learned there is always a
disgruntled worker at every Kinko’s in every city everywhere. Identify that
person and you will make out with a ton of free copies. I think this
old skool style of cut and paste influences the way I revise scripts today,
often times with a pair of scissors. The final draft of <i>The Panza
Monologues </i>book was laid out and organized on a wall of Post-its at Irma’s
house – “Cut that paragraph. Move it here. No, there.”</span></div>
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<span style="font-family: Verdana, sans-serif;">Back in the day, me and my comrades/comadres made zines from
political writings such as the <a href="http://bookstore.autonomedia.org/index.php?main_page=pubs_product_book_info&products_id=468" target="_blank">Zapatistas,</a> <a href="http://www.freemumia.com/who-is-mumia-abu-jamal/" target="_blank">Mumia Abu Jamal,</a> and <a href="http://www.spunk.org/texts/writers/malatest/sp001864.html" target="_blank">Errico Malatesta.</a> We handed them out everywhere we went – on the bus,
in coffee shops, at the club. We read from the zines out loud in places like
bookstores and laundry mats. In addition to protest speeches, this is one of my
earliest memories of staging text, performing literature. So when my play <a href="http://yalepress.yale.edu/book.asp?isbn=9780300169225" target="_blank"><i>blu</i></a> was
published as a book, I thought artistic directors would be excited to do book
readings and concert readings at their theatres but instead I was met with a
lot of confusion – “How would you do that? You mean <i>you </i>would read?
but there are multiple characters” – as if I had invented the radical concept
of an author standing up and reading from their book out loud.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">Too often I think we limit the possibilities of theatre to
the play and the four to six week rehearsal process allocated to put on that
play, when in actuality, the possibilities for performance are limitless. How
do we create more opportunities for people to engage in theatre, beyond the
performance of a play and how do we get more people to read plays as
literature?<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><b>DIY or Do it Yourself Damnit.</b> So when <i>The Panza
Monologues</i> was released last year I decided not to call on just theaters but on community centers and bookstores and anyone that had a free space big
enough for me and our book. Not waiting for permission or invitation, I
activated my community and networks. Since the publication of <i>The
Panza Monologues, </i>we have done readings of the book at theatres, cultural
centers, universities, bookstores, at <a href="http://panzamonologues.blogspot.com/2014/06/the-panza-in-perryville-womens-prison.html" target="_blank">The Perryville Women's Prison,</a> and even in people's living
rooms. Irma and I want to demystify what it means to make theatre and make
the possibilities of producing your own work more accessible, which is why we
created a DIY Production Manual in <i><a href="http://utpress.utexas.edu/index.php/books/gripan">The Panza Monologues </a></i><a href="http://utpress.utexas.edu/index.php/books/gripan">book</a>. In
the early days of touring <i>The Panza Monologues </i>as performance, we
carved out rehearsal space often times in Irma’s backyard but also at poetry
venues and, a couple of times, in between sets at a Jazz club. Teatro by
any means necessary. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><b>Puro Party. </b>I once invited my mother to a performance
of mine. When it was over she politely asked, “No que iban a tener una fiesta?”
At 73, my mother loves music, dancing and guato. She will be the last to
leave the party despite my father’s pleading. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">—Emma, it is time to go. </span> </div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">—Pos vete. I'll find a ride.</span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.facebook.com/jmendiola/posts/10152380711992694" target="_blank">This is why Tejanos should always be invited to the party!</a></span></span></div>
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<span style="font-family: Verdana, sans-serif;">We bring the beer in buckets, the polkas danced
counterclockwise in a circle, we can whistle real loud, and sabemos echar the
best gritos – we ARE the puro pinche party! </span></div>
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<span style="font-family: Verdana, sans-serif;">When I was in Austin (1994-2000), I worked with Accion Zapatista. In addition
to organizing an international solidarity campaign - protests, a weekly radio
station, a list serve for the dissemination of information coming out of
Mexico, editing and publishing Zapatista communiqués, and work within our own
communities – on top of all that - we threw a weekly dance party. Pushed the
furniture to the walls and danced in living rooms sometimes until the break of
dawn. These dance parties, that grew out of fundraiser “rent parties” that were
thrown to support an alternative newspaper [sub]text, turned into weekly mitotes –
food, dancing, guato, and a whole lotta for reals real life drama. </span></div>
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<span style="font-family: Verdana, sans-serif;">As part of <i>The Panza Monologues</i> South Texas Book
Tour, in addition to public events, we also threw panza parties in people’s
private homes. Artist <a href="http://anelflores.com/" target="_blank">Anel Flores</a> bought
together a crew of jotas, including her partner Erika Cassasola, PJ Aguilar,
Candace Lopez, and Marissa Rivas to organize a panza party in San Antonio as a
kick off to our South Texas Tour. Irma Mayorga often calls <i>The Panza
Monologues</i> a love letter to San Antonio so it was extra special to read in
the city that inspired and nurtured the work, in front of many of the people
that supported <i>The Panza Monologues</i> from the beginning, including visual
artist <a href="http://therivardreport.com/rendon-retrato-david-zamora-casas-artist/" target="_blank">David Zamora Casas,</a> who kept me fed while writing the original script and Maria
Salazar who contributed many pieces to the performance text. Anel spoke to the
importance of artists supporting other artists, reminding me that the real work
of community happens outside of institutions. <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">With the Poet Laureate of San Antonio, </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">Laurie Ann Guerrero.</span></td></tr>
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<span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span"><span style="font-family: Verdana, sans-serif;">At least 25 of us gathered in Anel and Erika's living room in Olmos Park - high school students (the youngest being 14), college students, young artists, and established artists like singer/ songwriter <a href="http://www.lourdesperez.com/" target="_blank">Lourdes Perez,</a> <a href="http://arts.gov/art-works/2013/art-talk-veronica-castillo-2013-nea-national-heritage-fellow" target="_blank">Veronica Castillo </a>(2013 NEA </span></span><span class="Apple-style-span"><span style="font-family: Verdana, sans-serif;">National Heritage Fellow) and the Poet Laureate of San Antonio </span></span><span class="Apple-style-span"><a href="http://laurieannguerrero.com/" target="_blank">Laurie Ann Guerrero.</a></span><span class="Apple-style-span"><span style="font-family: Verdana, sans-serif;"> Erika and Candace, along with Anel and Erika’s daughters Klarissa and Jessica, cooked a slammin brunch buffet. Intergenerational collaboration at its finest – I still dream about those pumpkin pancakes. And PJ and Marissa held down the Bloody Mary and Mimosa bar all afternoon. Through panza parties – organized by friends and whole families – our teatro continues to inch its way into living rooms, casitas and communities, transcending its dependency on money, time and space. Irma often jokes that I will try to feed an entire community in one wok but these moments that we gather around food, drink, and storytelling spark collectively, conviviality, and conversation. Details on how to organize your own party can be found in </span></span><span class="Apple-style-span"><i><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues</a></i></span><span class="Apple-style-span"><span style="font-family: Verdana, sans-serif;"> book. </span></span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Victor, Jaime, and Mike take pride </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">in their panzas.</span></td></tr>
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<span style="font-family: Verdana, sans-serif;">In the Rio Grande Valley, Victor Santos, Jaime Navarro and
Mike Rodriguez threw the very first panza party hosted entirely by men,
reminding us that everyone has a panza. Victor received his MFA in acting at <a href="http://calarts.edu/" target="_blank">CalArts</a> a few years before I went there
for graduate school. Now a drama teacher at Donna High School, he contacted me
on facebook hoping to begin a conversation about theatre, community and
teaching. Before traveling to the valley, I had actually not met any of the panza
party organizers and, to be honest, I was a little scared we’d be drinking
Lone Star and eating chips out of a bag with a can of bean dip but their panza
party was so heartfelt and beautiful. Like true Tejanos, they also made a
serious spread of food and they served beer not out of buckets but huge steel
tinas. Jim’s mom showed up to the party and after the reading, shared her own
panza monologue about the 30+ hours she was in labor with him. Can you imagine?
I think I’d die! <o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Jim Navarro with his fierce </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">momma.</span></td></tr>
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<span style="font-family: Verdana, sans-serif;">Our goal for the South Texas book tour was two-fold: to get
the book in the hands of Raza, people we thought would recognize and connect to
the stories being told and to also create points of access to theatre in
nontraditional spaces. The majority of our audience (totaling close to 200)
were Mexican American women, there was an extreme diversity in age (from
teenagers to viejitas) and at least two of our events were organized by
jot@s. At the end of it all - we completely sold out of books.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">*** <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Access to books is no small thing in South Texas. When I taught middle school, a group of us (including my close friend Marissa Ramirez, educators and students from the Southside of San Antonio) founded an organization called <a href="http://www.sacurrent.com/sanantonio/books-in-the-barrio/Content?oid=22686" target="_blank">Books in the Barrio,</a> a collectively run community action group that rallied to get a bookstore in San Antonio’s largely working class Mexicano community in the Southside of town because there were no bookstores to speak of south of HWY 90. In addition to old skool issue-based campaign strategies, we held a rally inside the mall – a place we knew people would already be congregating on a Sunday afternoon – and instead of traditional protest speeches, we threw a huge literary event that included poets, musicians, teatristas and workshops on how to make your own books and write your own story. The event not only served to educate people about the campaign to get a bookstore in the community, it also disrupted a place of capitalism and commerce and created a space where art, culture and politics intersected, where we collectively participated in an act of claiming power through creativity.</span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">One day we will buy our cake from </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">Candace's bakery.</span></td></tr>
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<span style="font-family: Verdana, sans-serif;">As an adult, I have now lived outside of Texas for more
years than I have lived in Texas. In my 30s, I have lived in Brooklyn longer
than any other city and yet something keeps bringing me back to this place that
is no longer my home, if it ever was - and it's not the Lone Star. As a fauxana
exile, I have continued making theatre in San Antonio, including acts of public
intervention and large scale multi-media performance events that occupy and
transform public space. I have committed to making theatre in Texas
because in Texas theatre matters, if not to institutions, to the young people
that gather inside living rooms to hear stories, to the viejitas that
came out to public events with their comadres and bought books for
their sisters and grand children, to the high school teacher struggling to find
material that relates to his students in Donna, Texas, to the high school
students that fought for a bookstore on the Southside of San Antonio. I
have never been interested in a liberal discourse of inclusion at any
institution, including mainstream and regional American theatre. Instead
it is my desire to stay true to the oppositional politics that made me an
artist, to stay rooted in community, and to create work outside the black box.</span><o:p></o:p></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-28088561681392248132014-10-07T23:39:00.001-04:002014-12-29T02:16:08.330-05:00Panza Chusmology: Part one of a two part series on The Panza Monologues South Texas Book Tour<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: xx-small;"><i style="mso-bidi-font-style: normal;">Note: This is the
first post of a two part series on </i>"The Panza Monologues <i style="mso-bidi-font-style: normal;">Some Like it Hot South Texas Book Tour"
this past summer. </i>Panza Monologues<i style="mso-bidi-font-style: normal;">
co-creator, Virginia Grise co-ordinated and read from </i>The
Panza Monologues, Second Edition </span><i style="mso-bidi-font-style: normal;"><span style="font-size: xx-small;">in five South Texas
cities in five days at diverse venues such as an independent bookstore, a
university, an art museum, and also in people's homes. You can find part two of
this series, "Thinking Outside the Black Box," <a href="http://panzamonologues.blogspot.com/2014/10/notes-from-china-chusma-fauxana-part.html">HERE</a>. </span></i></span></div>
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<h4>
<span style="font-family: Verdana, sans-serif;">Reflections from Josh Inocéncio, <i style="mso-bidi-font-style: normal;">Panza Monologues</i> South Texas Book Tour Producer. </span></h4>
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<span style="font-family: Verdana, sans-serif;"><i>A hotel room with a window that opens to the sea. Gulls
squawk their songs, the wind blows and encourages the sand to roll through the </i>sacate.<i> Then:</i></span><o:p><span style="font-family: Verdana, sans-serif;"> </span></o:p></blockquote>
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<span style="font-family: Verdana, sans-serif;"><b>Virginia: </b>Have you see the "Anaconda" music video? </span></blockquote>
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<span style="font-family: Verdana, sans-serif;"><b>Josh: </b>Ahhhh, not yet!</span></blockquote>
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<span style="font-family: Verdana, sans-serif;"><b>Virginia: </b>And you call yourself a cultural worker...</span></blockquote>
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<span style="font-family: Verdana, sans-serif;">CUE MÚSICA:</span></blockquote>
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<span style="font-family: Verdana, sans-serif;"><i>My Anaconda don't...</i></span></div>
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<span style="font-family: Verdana, sans-serif;"><i>My Anaconda don't...</i></span></div>
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<span style="font-family: Verdana, sans-serif;"><i>My Anaconda don't want none unless you got buns, hun </i></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeKYbmxgV9QY6Rp50zJDGz42Ue4-ItadVrHfMfvnHuS9e6KUhR5XTSsABXi_39gYeWEsO0FmqLLffiC-fsCFBdR649r_ThFxdll3pyaGP4CdIBf8o04pgyz6RBsmzmczQnizyRg-wGqDQn/s1600/Museum+of+Fine+Arts2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeKYbmxgV9QY6Rp50zJDGz42Ue4-ItadVrHfMfvnHuS9e6KUhR5XTSsABXi_39gYeWEsO0FmqLLffiC-fsCFBdR649r_ThFxdll3pyaGP4CdIBf8o04pgyz6RBsmzmczQnizyRg-wGqDQn/s1600/Museum+of+Fine+Arts2.jpg" height="295" width="400" /></a></div>
<span style="font-family: Verdana, sans-serif;">These lyrics bust out in a tranquil South Padre Island hotel
room as Virginia and I eagerly watch Nicki Minaj’s <a href="https://www.youtube.com/watch?v=LDZX4ooRsWs" target="_blank">"Anaconda"</a> - a
partial remix of the 90’s <a href="https://www.youtube.com/watch?v=_JphDdGV2TU" target="_blank">"Baby Got Back"</a> - in
between events on our south Texas tour of <i style="mso-bidi-font-style: normal;">The Panza Monologues.</i> Then we witnessed the <a href="http://bitchmagazine.org/post/nicki-minajs-unapologetic-sexuality-anaconda-video-feminism" target="_blank">Internet's heart attack</a> as scholars and commentators struggled to decide
if Nicki is feminist enough (for whom?) or, at least, what type of feminism
she’s espousing in her newest music video. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">I’m a devout Nicki follower, from "Stupid Hoe" to
"The Boys" feat. Cassie. What I admire most about her as a
performance artist (yes, I went there) is the same thing I admire about the
women whose stories are represented in <a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank"><i>The Panza Monologues</i><i style="mso-bidi-font-style: normal;">:</i></a>
their unrelenting confidence in their bodies, whether it be Nicki’s
embrace of her girls with a “big, fat ass in the club” or the Chicana
celebration of the panza that centers the whole body. And Nicki even
exudes this confidence as a craftswoman outside her work, as do Virginia Grise
and Irma Mayorga in their professional lives.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">This conversation around cultural work, as well as a praxis
deeply nourished by <i>chusma</i> origins in San Antonio and Houston,
characterized the colorful <i>aventura/jornada/</i></span><i style="font-family: Verdana, sans-serif;">peregrinaje </i><span style="font-family: Verdana, sans-serif;">that
Virginia and I orchestrated to share with Chicana/o communities in the Rio
Grande Valley. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfDeLLT_iIF28JxxuNg-1c92h1LyCjCe909HSf6e1FAFP3Rw74sJXSyAMfb-11FLi14UmidhoRESJNTs85GGK_hDlR7X7i9f-VMOZsTm_44qQQsVmtY73wzJ81k2DHSJMd4tKzmPHLr3H3/s1600/V_J+at+the+start+of+the+tour.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfDeLLT_iIF28JxxuNg-1c92h1LyCjCe909HSf6e1FAFP3Rw74sJXSyAMfb-11FLi14UmidhoRESJNTs85GGK_hDlR7X7i9f-VMOZsTm_44qQQsVmtY73wzJ81k2DHSJMd4tKzmPHLr3H3/s1600/V_J+at+the+start+of+the+tour.jpg" height="300" width="400" /></a></div>
<span style="font-family: Verdana, sans-serif;">From chasing down UPS drivers in dusty environs to busting
flip-flops in hotels that were <i style="mso-bidi-font-style: normal;">bien</i> fancy,
Virginia and I toured <i style="mso-bidi-font-style: normal;">The Panza
Monologues </i>book for five days in South Texas. Our aim was to
disseminate the play as a written text (a book) rather than as a
full-scale performance to predominantly Chicana/o communities, in cities
such as San Antonio, Brownsville, Edinburg, and McAllen. This relationship
emerged when my thesis advisor Nia Witherspoon, placed me in contact with
Virginia so that I could ask her questions about playwriting and living as a
professional artist in New York. After a few introductory chats, Virginia
and I discovered that we would both be in San Antonio during August, and she
invited me to work with her as a producer for the tour. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">Then, through an impromptu, <i style="mso-bidi-font-style: normal;">en chingas</i> process, we contacted museums, cultural centers,
universities, bookstores (all non-traditional theatre spaces), as
well as anyone we knew in the Rio Grande Valley, in order to see who might be
interested in hosting readings of <i style="mso-bidi-font-style: normal;">The
Panza Monologues. <o:p></o:p></i></span></div>
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<span style="font-family: Verdana, sans-serif;">Dr. Marci McMahon invited us to do a reading at The University
of Texas - Pan American. Anel Flores and Jim Navarro threw "Panza
Parties" in their homes, and we organized events with the <a href="http://brownsvillemfa.org/site/" target="_blank">Brownsville Museum of Fine Arts</a> and <a href="https://paragraphsbooks.mybooksandmore.com/web1/screens/homepage.jsp" target="_blank">Paragraphs on Padre Bookstore.</a> And through constant exchanges with more than
two people named Jovita or Sally, we discovered one thing in ALL these spaces:
Chicanas/os in the Valley are hungry for these cultural performances, and they
want to fill their panzas with theatre. Indeed, we nearly sold out of all
our books on the first day when a legion of <i style="mso-bidi-font-style: normal;">viejitas</i> showed up to Virginia’s reading at the
museum. With only four books left, Virginia and I emergency ordered 25
more to sustain the rest of the events, but laaaawd, the <i style="mso-bidi-font-style: normal;">chusma </i>chasedown of the UPS truck
that involved a security guard and a frigid postal worker who couldn’t handle
Virginia’s San Anto heat is another story - one you can read next week in the
second part of this blog series. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0IqssDs1721hbhRXjs5f7DmZn4L_dnZekUTrgb0PvF1cuFnMpjB0H40paQ00-DFkZfiAArQkXBU4LxIHPDew-o7TEQcZ9XVjqsh_qmUulxOL35u6yObDZeEpwPW-aDv-JjyhGOlpIdwf/s1600/Museum+of+Fine+Arts.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU0IqssDs1721hbhRXjs5f7DmZn4L_dnZekUTrgb0PvF1cuFnMpjB0H40paQ00-DFkZfiAArQkXBU4LxIHPDew-o7TEQcZ9XVjqsh_qmUulxOL35u6yObDZeEpwPW-aDv-JjyhGOlpIdwf/s1600/Museum+of+Fine+Arts.jpg" height="400" width="295" /></a></div>
<span style="font-family: Verdana, sans-serif;">Virginia and I may not be setting out to open theatres
in the Valley or anywhere else in Texas, but we share a common vision of making
Chicana/o theatre performances and texts more accessible in our home-state,
especially in communities that do not have regular access to theatres that
reflect Chicana/o cultural issues. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">CUE MÚSICA:</span></blockquote>
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<span style="font-family: Verdana, sans-serif;"><i>Boy toy named Troy used to live in Detroit</i></span></div>
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<span style="font-family: Verdana, sans-serif;"><i>Big dope dealer money, he was getting some coins</i></span></div>
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<span style="font-family: Verdana, sans-serif;"><i>Was in shootouts with the law, but he live in a palace</i></span></div>
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<span style="font-family: Verdana, sans-serif;"><i>Bought me Alexander McQueen, he was keeping me stylish </i> </span></div>
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<span style="font-family: Verdana, sans-serif;">Scramblin’ to find my own boy toy named Troy who can get me
some coins, I’m investigating all the possible ways to live as an artist. <i style="mso-bidi-font-style: normal;">Chistes</i> aside, I’m a Master’s
student at Florida State University finishing up my thesis before I make the
big move to New York or Chicago to start networking and working professionally
in the theatre. I accepted Virginia’s offer to work with her right away
because I believe in her project aims. My primary responsibility for the
tour was to produce the events and handle all the contacts we
made. However, as the tour progressed my relationship to
the panza activities transformed more into Virginia’s artistic
apprentice as I observed her bold yet <i style="mso-bidi-font-style: normal;">siempre
norteada </i>methodology (and, as Irma will tell you, that girl’s process,
like my own, is always a “zig-zag”). Amid the events in each city,
Virginia and I discussed making a life/living as a working artist and using
personal stories as the roots for our writing. <o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">To be sure, Virginia and Irma’s <i style="mso-bidi-font-style: normal;">Panza Monologues </i>has influenced my own artistic work,
especially for the solo play I just wrote and will start performing in spring
2015. For my play, <i style="mso-bidi-font-style: normal;">Purple
Eyes, </i>which explores queer passages of masculinity and Mexican
cultural inheritances among the previous generations of Inocéncio men and
myself, I traveled to San Antonio to gather memories and stories from my family
members who live there. I interviewed <i style="mso-bidi-font-style: normal;">mis tías, mis tíos, y mis primos </i>throughout the
Inocéncio, Ynosencio, and Mendoza clans about their relationships to
identifying as Mexicans, practicing Catholicism and/or indio beliefs, or
negotiating hyper-masculine spaces such as the police force, the military, or
the drug trades. I collect these stories and reawaken our indigenous
P’urhépecha past in order to dream up ways of dismantling the racism, sexism,
and homophobia that have pervaded my family’s experiences. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEw8-EXr_LfYSD8HVip37H8pNJ5xY9WKDIfieosKZ0YchdoxeGr2Rq7PjOOtuFUNp1XTAdZ-sR1ELEvwLw8EeJ7UsHZXDbJI9xeMxScj6bmxbQ4A8a8ynzuXSwS5ue2Aj7h0eRo8rySLTC/s1600/V_J+at+UT+Pan+Am.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEw8-EXr_LfYSD8HVip37H8pNJ5xY9WKDIfieosKZ0YchdoxeGr2Rq7PjOOtuFUNp1XTAdZ-sR1ELEvwLw8EeJ7UsHZXDbJI9xeMxScj6bmxbQ4A8a8ynzuXSwS5ue2Aj7h0eRo8rySLTC/s1600/V_J+at+UT+Pan+Am.jpg" height="400" width="300" /></a></div>
<span style="font-family: Verdana, sans-serif;">As sources of inspiration, the urgency of “Political Panza”
and the humor of “From Cha-Cha to Panza” remained in my mind as I wrote, yet
Virginia’s [auto]geography in the <i style="mso-bidi-font-style: normal;">The
Panza Monologues </i>book stuck with me the most, especially as she
performed sections from this for our South Texas audiences. Rooted in the
southern Mexican state of Michoacán and underneath the smoggy blankets of
Houston, I’ve mapped an Inocéncio [auto]geography of my own in what I’m
referring to as an “ancestral autobiography” where I position my own queer
subjectivity in relationship to other instances where the Inocéncios have
contested a machismo <i style="mso-bidi-font-style: normal;">pero
bien fuerte. </i>Virginia told me that all of her work is, in some
way, grounded in her personal experiences, and I can’t imagine another way of
crafting stories for my own work.<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;">And then there was the journey of the tour, which planted
the necessary seedlings for me to imagine a long-distance, torrential love
affair with <i style="mso-bidi-font-style: normal;">Tejas.</i> I originally
planned to live in San Antonio longer, but as I worked with Virginia, my mind
opened to other possibilities. As a queer playwright and performer invested in socially relevant theater, I position myself as a cultural worker. I carry my chicanismo everywhere I go (thank
you, Virginia and Irma, for reminding me) but <i>The Panza Monologues</i> book tour helped me imagine new ways of working with <i>la tierra natal</i> while living states away. Certainly, the logistical process for South Texas was an
enlightening one. My experience with Virginia demonstrated what I need to
be mindful about as a traveling artist, and, more importantly, as an artist
engaged in cultural reclamation. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<o:p><span style="font-family: Verdana, sans-serif;"><br /></span></o:p></div>
<blockquote class="tr_bq">
<span style="font-family: Verdana, sans-serif;">CUE MÚSICA:</span></blockquote>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Yeah, he love this fat ass</i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Yeah! This one is for my bitches with a fat ass in the fucking club</i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>I said, "Where my fat ass bitches in the club?" </i></span></div>
<div style="text-align: center;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Lemme hear it from all my Latino <i style="mso-bidi-font-style: normal;">jotos en el club, en el mundo,</i> fuck y’all homophobic bitches
tryna step ON OUR TRIP! <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><i style="mso-bidi-font-style: normal;">Disculpame,
gente, </i>I get carried away sometimes. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br />
I won’t pretend to make an easy comparison with myself, Nicki, and the <i style="mso-bidi-font-style: normal;">mujeres</i> of <i style="mso-bidi-font-style: normal;">The Panza Monologues. </i>The story of my panza is my
own. I’ve grappled with confidence issues, both in my work and in my
body, as I’ve matured to where I am now. And my writings reflect these
conflicts, whether it was being an awkward, scrawny <i>joto</i> who just
wanted to “bang, bang, bang” or a <i style="mso-bidi-font-style: normal;">güero</i> with
fair skin and blondish hair who sometimes wondered whether he was “Latino
enough” (again, for whom?). <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqZIg5TNKU8KPtS0bV-bHYijtJ_I5nmKinPzx6p62XBoueLasz2JHOKP3fLfn0ThBfcp-yTvtsoMhNL74_U7xJtD4PZq0MVVIovQei_GJ7xi-p6XLd7tv-l6Nnfgy3bJCf7NhZb8Vwu-OF/s1600/At+SPadre.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqZIg5TNKU8KPtS0bV-bHYijtJ_I5nmKinPzx6p62XBoueLasz2JHOKP3fLfn0ThBfcp-yTvtsoMhNL74_U7xJtD4PZq0MVVIovQei_GJ7xi-p6XLd7tv-l6Nnfgy3bJCf7NhZb8Vwu-OF/s1600/At+SPadre.jpg" height="400" width="353" /></a></div>
<span style="font-family: Verdana, sans-serif;">In <i style="mso-bidi-font-style: normal;">The Panza
Monologues,</i> in a piece called “Historia,” the performer retells the
origins of the universe which is connected to the panza, and she even
elaborates on the moon’s involvement in the creation. As a Cancerian crab,
my spiritual, emotional, sexual energies are centered in the panza. And
since I am a water spirit, my moods wax and wane with the moon like the <i style="mso-bidi-font-style: normal;">mujeres</i> in my family or the
Galveston waters I grew up by. Reminiscent of the speaker in
“International Panza,” I am Coyolxauhqui’s son long before I’m
Huitzilopochtli’s. And I may be <i style="mso-bidi-font-style: normal;">flaco, </i>but
I have a <i style="mso-bidi-font-style: normal;">gordito</i> appetite
and a high metabolism (or I just spill my food a lot). But more
importantly, <i style="mso-bidi-font-style: normal;">mi panza y mi
corazon </i>have even larger appetites for love and sharing stories with
other people, which is why I call out to my other <i style="mso-bidi-font-style: normal;">jotos</i> and Latinos in this club of the world. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">I referenced the South Texas tour as a <i style="mso-bidi-font-style: normal;">peregrinaje,</i> not just because we ended
the trip at a <i style="mso-bidi-font-style: normal;">curandero</i> shrine,
but because the cultural work we engaged in with the Rio Grande Valley has a
sacred and urgent potency that I will continue as an artist. After the UT
- Pan-American event, a young Chicana asked Virginia how she had gained so much
confidence. "Have you always been confident?" she asked. "I
ask that question because I am trying to learn how to be confident
myself." And this is why we must continue this kind of
practice. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">As the Chicano theatre historian Jorge Huerta instructed me
at ATHE (Association for Theatre in Higher Education conference) in Phoenix,
Arizona this past summer, “No more humble Mexicans, no more humble
African-Americans, no more humble queers!” <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">The time for our cuentos is NOW.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">* * *<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif; font-size: x-small;">Read about <i style="mso-bidi-font-style: normal;">The
Panza Monologues </i>at ATHE <a href="http://panzamonologues.blogspot.com/2014/08/panza-with-profes.html" target="_blank">HERE.</a><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: x-small;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif; font-size: x-small;">Read Christina R. Garza's article about the South Texas book
tour in <i style="mso-bidi-font-style: normal;">The Brownsville Herald</i> <a href="http://www.brownsvilleherald.com/news/local/article_322cdfc6-2b3a-11e4-908e-001a4bcf6878.html?mode=jqm" target="_blank">HERE.</a> <i style="mso-bidi-font-style: normal;"> <span style="color: #0d0e00;"> </span></i><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: x-small;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif; font-size: x-small;">Contact <a href="mailto:panzapower@gmail.com">panzapower@gmail.com</a> to book a reading
of <i style="mso-bidi-font-style: normal;">The Panza Monologues </i>in
your community.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: x-small;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><span style="font-size: x-small;">Buy your copy of <i style="mso-bidi-font-style: normal;">The
Panza Monologues, Second Edition </i><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">HERE. </a></span><o:p></o:p></span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-4025373157942525322014-09-09T09:42:00.000-04:002015-01-17T17:51:36.624-05:00Love Your Body: Featuring Claudia Acosta<!--StartFragment-->
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<span style="font-family: Verdana, sans-serif;"><span style="text-align: justify;">Claudia Acosta (</span><span lang="ES">New York, NY) </span><span style="text-align: justify;">reminds us what it means "to show up" again and again and again. We are honored to feature her as a guest reader </span><b style="text-align: justify;">this Saturday</b><span style="text-align: justify;"> (September 13, 2 - 4PM) at our <a href="https://www.facebook.com/events/1388442434742534/" target="_blank">New York Book Release Party </a>of </span><a href="http://howlround.com/my-own-panza-girl-manifesto" style="text-align: justify;"><i>The Panza Monologues</i></a><span style="text-align: justify;"><i> </i></span><span style="text-align: justify;">at</span><span style="text-align: justify;"> </span><a href="http://www.lacasaazulbookstore.com/" style="text-align: justify;">La Casa Azul Bookstore</a>.</span></div>
<div class="separator" style="clear: both; text-align: left;">
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifAhvFWw1fwFVuyh8EjMNXmgCcnfGKFDPJ8lgsP3I7nL0yMf7mTVg8xZwsTKQx6TmypgSS_3S5xhhK5xfrYOkOm9Uc1Xo9Wk7TbIWAQAyH55ygEUsOzuXg4ChBNGbWRFrfxDcINZqIhkB7/s1600/Claudia+Go+Away!.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifAhvFWw1fwFVuyh8EjMNXmgCcnfGKFDPJ8lgsP3I7nL0yMf7mTVg8xZwsTKQx6TmypgSS_3S5xhhK5xfrYOkOm9Uc1Xo9Wk7TbIWAQAyH55ygEUsOzuXg4ChBNGbWRFrfxDcINZqIhkB7/s1600/Claudia+Go+Away!.jpg" height="400" width="265" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Claudia Acosta as </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">Siempre Norteada in Virginia's </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">play <i>Go Away!</i></span></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;"><span class="c24"><span class="Apple-style-span" style="font-weight: normal; line-height: normal;">Claudia Acosta is a bilingual
actor, producer, writer, and teaching artist. A straight hustler, the girl has performed Off-Broadway in shows such as </span><span class="Apple-style-span" style="font-weight: normal; line-height: normal;"><i>Dance for a Dollar</i>
(INTAR), </span><i style="font-weight: bold; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;">Don Cristobal Billy Club Man</span></i><span class="Apple-style-span" style="font-weight: normal; line-height: normal;">
(HERE Arts Center), and </span><i style="font-weight: bold; line-height: normal;"><span class="Apple-style-span" style="font-weight: normal;">Pandora's </span></i><span class="Apple-style-span">(Theater
Row) as well as in theaters throughout the Southwest</span><span class="Apple-style-span" style="font-weight: normal; line-height: normal;">. Most recently she was in </span></span><i style="line-height: normal;">The Architecture of Becoming<span class="Apple-style-span" style="font-style: normal;"> produced by <a href="http://wptheater.org/">The Women's Project</a></span></i>, where she played many characters including originating the role of Siempre Norteada created by Virginia Grise. </span><span style="font-family: Verdana, sans-serif;">But, there ain't nothing norteada about Claudia - she knows where she's goin. </span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span>
<span style="font-family: Verdana, sans-serif;"></span><span style="font-family: Verdana, sans-serif;">Hailing from the state of Texas, her first play </span><i style="font-family: Verdana, sans-serif;">Girlie Stories </i><span style="font-family: Verdana, sans-serif;">is now published in </span><i style="font-family: Verdana, sans-serif;">Taboo
Theater: Sex and Violence on Stage</i><span style="font-family: Verdana, sans-serif;"> (University Readers), an anthology
currently being taught at the University of Central Florida. She created and produced the first-ever Rose Marine Latino Film Festival in Fort
Worth, Texas and produced a short documentary with Academy Award Winning
Director, Nigel Noble. In New York, Claudia has served as a teaching artist in after-school programs,
public schools, colleges, universities, safe houses, homeless shelters, and the
prison at Riker's Island with The Public Theater, Shadow Box Theater, White
Bird Productions, Creative Arts Team of CUNY, Lincoln Center, and Arts Connection. </span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span><span style="font-family: Verdana, sans-serif;">For our blog and in anticipation of our NYC reading this coming weekend, we asked her, "If your panza could speak what would it say?" </span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span>
<span style="font-family: Verdana, sans-serif;">And she said...</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: right;">
<span style="color: #a64d79; font-family: Verdana, sans-serif;">"Somos nosotras las hijas de Coyolxauhqui, full moon faces. Y yo con una panza to match. Big, round, beautiful full moon panza to match my Olmeca head." </span></div>
<div style="text-align: right;">
<span style="color: #a64d79;"><span style="font-family: Verdana, sans-serif;">– from "International Panza," </span><i style="font-family: Verdana, sans-serif;">The Panza Monologues</i></span></div>
</div>
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-size: small; font-weight: normal;"><b style="mso-bidi-font-weight: normal;"><span lang="ES">
</span></b></span></span></b>
<br />
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<div style="text-align: right;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I am a first
generation Mexican-American. </span><span style="font-family: Verdana, sans-serif;">A Texican, a long
lost norteña Chihuahuense that found her way up northeast from the west coast town
of Corona, California to a rocky mountain childhood back in El Paso/Juarez forging
a creative way past teenage years in Dallas-Fort Worth to find a place to stay
and work as a theater artist in New York, New York. A thirty-four-year-old Latina-Teatrista
always floating somewhere between her heart and her head trying to make sense out
of everything along the way without being a dick about it.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT9QN3-FBArAuIVEeczd1yo7jToI5xX1UUCND-Mw2oZyLGlwJsWh2MoQKfhVxUVdd0pT1DvMhFh_3jpUsE9Rtg6Qg2T-1vtEbEwouoGIcJNCFze714fwxVG46xhL4jyXctIGCG0j4Ap-9z/s1600/PanzaCool.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT9QN3-FBArAuIVEeczd1yo7jToI5xX1UUCND-Mw2oZyLGlwJsWh2MoQKfhVxUVdd0pT1DvMhFh_3jpUsE9Rtg6Qg2T-1vtEbEwouoGIcJNCFze714fwxVG46xhL4jyXctIGCG0j4Ap-9z/s1600/PanzaCool.png" height="400" width="325" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Claudia Acosta's Summer Reading</span></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;">I come from a long line of Chihuahua hard-asses
with convictions, or as this excerpt from a poem I wrote about my mother’s
breast cancer would more clearly answer:</span><span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 12.0pt;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">I come from a long line <br />
of guerilleros<br />
My Mother the bravest one<br />
and for my Mother,<br />
it was her Mother<br />
and with <br />
Grandmother stood my Grandfather<br />
and with my Sisters, my Brother<br />
with them, me.<br />
<br />All there along my Father's side.<br />
<br />
Our blood in my veins,<br />
helped my Mother up <br />
and untied her gown<br />
and guided her arm through</span><br />
<span style="font-family: Verdana, sans-serif;">
the strap of her bra</span><br />
<span style="font-family: Verdana, sans-serif;">
</span>
<span style="font-family: Verdana, sans-serif;">
</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">I saw my birth in her breasts:<br />
my origin, my nourishment,<br />
my comfort...myself.<br />
<br />
Her body is my own.<br />
<br />
This the beginning,<br />
soon a space will remain<br />
to give more land</span><br />
<span style="font-family: Verdana, sans-serif;">
for love to create </span><br />
<span style="font-family: Verdana, sans-serif;">
greater change </span><br />
<span style="font-family: Verdana, sans-serif;">
in my blood's time.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">***</span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;">Whitney Houston sang words I will never
forget:</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: right;">
<span style="font-family: Verdana, sans-serif;"><i>"I believe the children are our future / Teach them well and let them lead the way / Show them all the beauty they possess inside / Give them a sense of pride to make it easier / Let the children's laughter remind us how we used to be."</i></span></div>
<div style="text-align: right;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I believe in love,
in people, in creativity, in prayer, in community, in justice, and happiness. </span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I
also believe that humans are capable of great, great beauty, stupidity, and
horror.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I believe the
imagination is a survival skill. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I believe I may have
drowned at sea in a former life or was a mermaid because of my relationship
with the ocean having been raised in the desert and plains of Texas. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">That being said, I
believe in everything and nothing.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Okay, maybe I
believe that stars aligned for my coming into this world to leave something
behind that could be useful for humanity. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I used to believe
Jesus died for my sins, but I no longer believe in original sin. <span style="mso-spacerun: yes;"> </span>I no longer believe in a God that made me
so I can pay him back for all my imperfections. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I believe in the
natural force that surrounds us, penetrates us, binds the galaxy together. </span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I
believe in the force. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Yes, I believe in
the force.</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: right;">
<span style="color: #a64d79; font-family: Verdana, sans-serif;">"So it was written on the bodies of Chicana heavyweights all across Aztlan. Live your life without shame."</span></div>
<div style="text-align: right;">
<span style="font-family: Verdana, sans-serif; text-align: start;"><span style="color: #a64d79;">– from "Historia," <i>The Panza Monologues</i></span></span></div>
<span style="color: #a64d79; font-family: Verdana, sans-serif;"></span><br />
<blockquote class="tr_bq">
<div style="text-align: right;">
<br /></div>
</blockquote>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJY9iM8wF7QniJN1cohsJhU1SVfJV7zkkD1y5NmxqN1MS9oTVrSySBzoGApWgB9wpolqHufujhsloeHKBLxn2BKaB0iColqDrxfEcfSzI7Du4H4S-t-3PSEmp4m4M5k6sDSFOSj8ENiaco/s1600/Claudia.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJY9iM8wF7QniJN1cohsJhU1SVfJV7zkkD1y5NmxqN1MS9oTVrSySBzoGApWgB9wpolqHufujhsloeHKBLxn2BKaB0iColqDrxfEcfSzI7Du4H4S-t-3PSEmp4m4M5k6sDSFOSj8ENiaco/s1600/Claudia.jpg" height="400" width="351" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">i first heard music in the panza...</span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">child in womb</span></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;">My breasts. I am
very happy with them. They are fun and give me much pleasure. Sometimes they
concern me, but overall I am very honored to have these breasts attached to my
body because it balances me out.<span style="mso-spacerun: yes;"> </span>I
have a very big ass. It garners a lot of attention, stirring up mixed emotions
in men and women.<span style="mso-spacerun: yes;"> </span>It is a burden
sometimes to have an ass that both compels and alienates. My breasts I can see.
<span style="mso-spacerun: yes;"> </span>I can hold them.<span style="mso-spacerun: yes;"> </span>I was told once that Aries don’t believe in
anything they don’t see - so I wonder - because I am an Aries - is that why my ass
haunts me?<span style="mso-spacerun: yes;"> </span>I can’t see it, but I
can feel it.<span style="mso-spacerun: yes;"> </span>My ass dictates a lot
in my world, but I can take comfort in my breasts. They make me feel like I am
Appollonia, the first breasts I saw
on TV. While my sisters watched <i>Purple Rain,</i> I hid behind the couch and peeked.
I was five, that movie was off-limits.<span style="mso-spacerun: yes;">
</span>Seeing Appollonia undress and reveal her beautiful breasts awed me.<span style="mso-spacerun: yes;"> </span>I wanted a pair like that on me.
Thankfully the boob fairy I prayed to made it happen.<span style="mso-spacerun: yes;"> </span>I have big breasts that I can hold so I would never feel
alone in this cruel world. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"><br /></span></span>
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"><br /></span></span>
<br />
<div style="text-align: right;">
<span style="font-family: Verdana, sans-serif;"><span style="color: #a64d79; mso-spacerun: yes;">"Someone's panza story is a sacred story, and to share it with someone else is to tell them about the condition of your life."</span></span></div>
<div style="text-align: right;">
<span style="font-family: Verdana, sans-serif; text-align: start;"><span style="color: #a64d79;">– from "Prologue," <i>The Panza Monologues</i></span></span></div>
<br />
<br /></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I was a skinny kid until
I was nine, when I had surgery from an accident that involved losing the tip of my
middle finger on my left hand. <span style="mso-spacerun: yes;"> </span>I
learned two things: how to temporarily write with my right hand and how to eat
my feelings. Shortly after that, I remember hearing “<i style="mso-bidi-font-style: normal;">PANZONA,</i>” “<i style="mso-bidi-font-style: normal;">Que Pansoncita."</i> My little round tummy over skinny knock-kneed legs. I would get these stomach pains
when I was little. I went to the hospital twice because my parents thought I
had appendicitis, but after x-rays and tests nothing was found.<span style="mso-spacerun: yes;"> </span>A phantom pain that startled me, that
overtook me, and made me cry out. <span style="mso-spacerun: yes;"> </span>Didn’t
know it was anxiety. <span style="mso-spacerun: yes;"> </span>My panza was
trying to make me listen, but I didn’t know what "listen to your gut" meant. It wasn't until
I reached adulthood that I realized my stomach was my second brain.<span style="mso-spacerun: yes;"> </span>Everything my mind goes through, my
stomach does too.<span style="mso-spacerun: yes;"> </span>I wish I had known that. I wish I had learned that having a strong tummy gives you power to move. I
wish I knew how to listen to my panza then.<span style="mso-spacerun: yes;"> </span>LISTEN TO THE PANZA.<o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<br />
<div style="text-align: right;">
<span style="color: #a64d79; font-family: Verdana, sans-serif;">"Our panza has a heart that in extension suffers - suffers from out not taking care of it." </span></div>
<div style="text-align: right;">
<span style="font-family: Verdana, sans-serif; text-align: start;"><span style="color: #a64d79;">– from "Hunger for Justice," <i>The Panza Monologues</i></span></span></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: right;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-family: Verdana, sans-serif;"><b>So, what does my panza say to me now? </b><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>How dare you eat
French fries two days in a row and what makes you think you could eat a falafel
too?<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Thanks for laying off
the dairy.<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>You are worried. I
don’t know what you are worried about, but girl you are worried. Can’t you see
I’m justa handful away from showing you what you could do with that dress?<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>That plank position.
Get it.<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Your back hurts.<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Work these abs, girl.<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Why don’t you love me,
the way I am?<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>I loved the green
smoothies, but I hated the green smoothies.<o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Why are you scared? <o:p></o:p></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><i>Why are you scared?<o:p></o:p></i></span><br />
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span></div>
<div style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHoXsn-5hkQWk4ajOkGl0sFkZ45im5fkrDGZXoofe70lSeZnxV5OdynRxYVUYoo55_3Z8rv-qKoUKSJ39uB-bTdPqb53iYV9TgQ4EBz77yyM1c4xK33HqkVLVNo6RrveefMR-w0423KoOl/s1600/PanzaBeach.png" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHoXsn-5hkQWk4ajOkGl0sFkZ45im5fkrDGZXoofe70lSeZnxV5OdynRxYVUYoo55_3Z8rv-qKoUKSJ39uB-bTdPqb53iYV9TgQ4EBz77yyM1c4xK33HqkVLVNo6RrveefMR-w0423KoOl/s1600/PanzaBeach.png" height="400" width="376" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;">That echoes in the
deep chamber of my panza when the world I play in gets quiet. I have this fear,
this block.<span style="mso-spacerun: yes;"> </span>A whole spot at the
top of my belly that fires anxiety that makes me tremble like a volcano spewing
ash and lava. It burns. It trembles. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">This center of my
being gets so stuck. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span><br />
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">This center I use to
connect to others. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">This center that
carries me in a classroom or on stage. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">This center that can
hold life. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">This center that tells
me to write when it needs to speak. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">This center of my
being feels trapped forcing me to remember to breathe. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I breathe. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I feel the tightness
of my fear stretching and sighing. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">I watch my belly
expand and release. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Breathe it says. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Breathe.</span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span>
<span style="font-family: Verdana, sans-serif;"></span>
<span style="font-family: Verdana, sans-serif;"></span>
<br />
<div style="text-align: right;">
<span style="color: #a64d79; font-family: Verdana, sans-serif;">"Keep your third eye open, mugrosa, cuz sometimes you gots to give ojo to protect yourself."</span></div>
<div style="text-align: right;">
<span style="font-family: Verdana, sans-serif; text-align: start;"><span style="color: #a64d79;">– from "Panza Brujería," <i>The Panza Monologues</i></span></span></div>
<div style="text-align: right;">
<br /></div>
<div style="text-align: right;">
<br /></div>
</div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">May my panza have
power to push me forward. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">May my panza grow
strong to keep me balanced. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;"></span>
<span style="font-family: Verdana, sans-serif;">May my panza be
healthy to sustain me everyday.</span><span style="font-family: Verdana, sans-serif;"> </span><span style="font-family: Verdana, sans-serif;"></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">May my panza be at
peace so I can hear the voices of my ancestors reminding me how beautiful and
how chingona I really am. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Thank you Vicki and
Irma. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">Today and everyday
my panza makes me a chingona. <o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="font-family: Verdana, sans-serif;">So it is written.</span><span style="font-size: 12pt;"><o:p></o:p></span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<!--EndFragment-->
Unknownnoreply@blogger.com3tag:blogger.com,1999:blog-2933103845993959787.post-91777289110889215192014-08-20T21:39:00.001-04:002016-07-11T09:48:15.712-04:00Pedagogy of the Panza: Panza with Profes<div class="MsoNormal">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRC9R6eLAQGZ15QNC4hBNjGX2U_oe31MKa8t6A7ATcIjoZaKEt0bz2WQC1cW8edPpQjVxVzG4uekfSNx5mNJbchMY_4fekK_v6sVG_P3LYhwXm3I-_DOsUVsSonJw3LosTavNDOXf-Wg1F/s1600/panza+tour.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em; text-align: justify;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRC9R6eLAQGZ15QNC4hBNjGX2U_oe31MKa8t6A7ATcIjoZaKEt0bz2WQC1cW8edPpQjVxVzG4uekfSNx5mNJbchMY_4fekK_v6sVG_P3LYhwXm3I-_DOsUVsSonJw3LosTavNDOXf-Wg1F/s1600/panza+tour.jpg" width="306" /></a><br />
<div style="text-align: justify;">
<span style="background-color: white; color: #37404e; font-family: "verdana" , sans-serif; line-height: 20px;">From Irma Mayorga:</span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="background-color: white; color: #37404e; line-height: 20px;"><br /></span>
<span style="background-color: white; color: #37404e; line-height: 20px;">On Sunday, August 25th, Virginia Grise will begin rolling through South Tejas on the "Some Like it Hot - South Texas Panza Monologues Book Tour." The tour promises to spread panza positivity and power from South Padre Island to the University of Texas, Pan American (see end of post for the tour schedule). </span></span></div>
<div style="text-align: justify;">
<span style="background-color: white; color: #37404e; font-family: "verdana" , sans-serif; line-height: 20px;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span style="background-color: white; color: #37404e; line-height: 20px;">However,</span><span style="background-color: white; color: #37404e; line-height: 20px;"> </span><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">before V's red hot reports from the South Tejas tour begin,</span><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"> I wanted to share some reflections about </span><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">a unique staging of <i>The Panza Monologues </i></span><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">that occurred earlier this summer at the Association for Theater in Higher Education's (ATHE) annual conference.</span></span></div>
</div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><br /></span></div>
<div class="MsoNormal">
</div>
<div style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1H1O8sts9fjjO1TUQNkrS0-BNgDNB6yTHGFHSIWtqcUNWn4c32gYIdGj3JrIW5kM51_cHXo4f-Wyy7hS_erSHHcsLk-WOgBAAZBVVw73JbN9TDbBcv7BIJdqt1f5qs3B4OMahetQ9gQDh/s1600/athe+logo.jpeg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"></span></a><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">The last
weekend in July, ATHE held
their annual conference in Scottsdale, Arizona. This association is comprised
of roughly 1500 members who are, in large part, <i>profes</i>
who teach, make, and study theater at the college and grad school level. </span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;"><br /></span></span>
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">At the profes' annual ATHE convening, they have a
chance to dialogue and exchange, enjoy fellowship and intellectual stimulation,
meet new people and ideas, and overall, enjoy thinking about theater and education with colleagues from across the U.S. It's a theater profe geek out session of the best kind. As a theater profe myself, I have been a member of this org since around 1996 and
consider it my intellectual home for theater studies.</span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><br /></span></span></div>
<div style="text-align: justify;">
</div>
<div style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">Although
the National Council of La Raza and many other Latina/o orgs have called off
their boycotts against the State of Arizona [see more </span><span style="font-size: xx-small;"><a href="http://lawprofessors.typepad.com/immigration/2011/09/nclr-head-explains-end-of-arizona-boycott.html]" target="_blank">HERE</a>]</span><span style="font-size: xx-small;"> - boycotts that began in response to a long series of hostile [meaning racist] Arizona immigration laws (not the least of which is SB 1070, the </span><span style="font-size: xx-small;">law that encourages racial profiling) - the state remains a bitter site f</span><span style="font-size: xx-small;">or Latina/os:</span><span style="font-size: xx-small;"> a
place to avoid, to go around, and to resist actively as a matter of
solidarity against the egregious legislation that continues to be implemented by the
state. </span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;"><br /></span></span>
</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1H1O8sts9fjjO1TUQNkrS0-BNgDNB6yTHGFHSIWtqcUNWn4c32gYIdGj3JrIW5kM51_cHXo4f-Wyy7hS_erSHHcsLk-WOgBAAZBVVw73JbN9TDbBcv7BIJdqt1f5qs3B4OMahetQ9gQDh/s1600/athe+logo.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="137" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1H1O8sts9fjjO1TUQNkrS0-BNgDNB6yTHGFHSIWtqcUNWn4c32gYIdGj3JrIW5kM51_cHXo4f-Wyy7hS_erSHHcsLk-WOgBAAZBVVw73JbN9TDbBcv7BIJdqt1f5qs3B4OMahetQ9gQDh/s1600/athe+logo.jpeg" width="320" /></span></a><span style="font-family: "verdana" , sans-serif;"><span style="font-size: xx-small;">And if that isn't enough, let's also not forget Arizona passed into law HB 2281, a mandate where books that offer critical interventions and rearticulations of dominant U.S. history, as well as cogent breakdowns about discrimination based on race, gender, ethnic identity, and sexuality in the U.S., have
been removed from Arizona public secondary schools because they spread "dangerous ideas." Ideas like social justice, like gender equality, like describing the reality of the lived conditions people of color, women, queer people, children and youth, and all other marginalized communities have resisted and survived in the U.S. Yeah, those books. They are now gone from classrooms, which is most definitely <i>not </i>enacting Panza Positive Policies. </span><span style="font-size: xx-small;">(To see the list of books removed from Arizona high school classrooms, go </span><a href="http://azethnicstudies.com/banned-books" target="_blank"><span style="font-size: xx-small;">HERE</span></a><a href="http://azethnicstudies.com/banned-books" style="font-size: small;" target="_blank">.</a><span style="font-size: xx-small;">) </span><span style="font-size: xx-small;"> </span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJqOaR0VZZcFxTSNxQ1c5_p-8Hy2RgoqP7a8gEY0Z6s_YYEsE82TugyjG1glBbK1tJ0AcxCqnkZWgS3c8t05m8dYa2dcKtR3px_ngLtzfdK3tjbe6VpHKyOVZZGGrhLYJCnmeC_KHcJ0y/s1600/panza01+copy.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKJqOaR0VZZcFxTSNxQ1c5_p-8Hy2RgoqP7a8gEY0Z6s_YYEsE82TugyjG1glBbK1tJ0AcxCqnkZWgS3c8t05m8dYa2dcKtR3px_ngLtzfdK3tjbe6VpHKyOVZZGGrhLYJCnmeC_KHcJ0y/s1600/panza01+copy.jpg" width="288" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">Aaron C. Thomas & Patricia Herrera, </span></span><br />
<span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif;">"Prologue" from <i>The Panza Monologues</i> </span></span><br />
<span style="font-family: "verdana" , sans-serif;">at ATHE 2014, </span><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">dir. by Jason Ramirez</span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">In light
of these troubling circumstances (and there are others...), it was with special attention and care that
ATHE constructed its annual conference for Arizona. The organization sought to recognize what we were stepping into while also working hard to honor the ongoing work of those whom we were visiting with for a time. </span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">So, for example, although he had already been identified
to receive recognition, this past July was the year that legendary theater artist <a href="http://latino.si.edu/virtualgallery/ojos/bios/bios_Valdez.htm" target="_blank">Luis Valdez</a> attended
the conference to receive one of ATHE’s highest awards, the Ellen Stewart Career Achievement Award for Professional Theatre,
which recognized his unmatched contributions to the political and aesthetic shape
of U.S. American theater. If that wasn't thrilling enough, playwright, performer, and itinerate community organizer <a href="http://www.dramaticpublishing.com/AuthorBio.php?titlelink=10281" target="_blank">Luis Alfaro </a>addressed the entire ATHE membership as the conference’s keynote speaker for 2014. Luis designed his keynote as a “conversation” with Dr.
Tiffany Ana Lopez (who, we might add, wrote the “Forward” for <i style="mso-bidi-font-style: normal;">The Panza Monologues, Second Edition!), </i>and his remarks offered important ideas about building community, the current climate of Latina/o theater making, and advice on supporting artists. He also scattered phenomenal snippets of
performances from his <i>huge</i>
catalogue of work in his remarks, <o:p></o:p>which delighted and, frankly, deeply moved all those gathered. </span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYvLdsrqHoMEEIX_v53EQ2Vgmi5sMftM3rFfaVGuhQAhc-JHpLFyQzeYElGGyfuXuZ6CEajGHWuoWcAamPYLuYaxy_GiDbF3NaEvAnM48JvcGMd9czeKJp_8iYXeYX2JnttYjc3SAhcpo/s1600/panza02.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbYvLdsrqHoMEEIX_v53EQ2Vgmi5sMftM3rFfaVGuhQAhc-JHpLFyQzeYElGGyfuXuZ6CEajGHWuoWcAamPYLuYaxy_GiDbF3NaEvAnM48JvcGMd9czeKJp_8iYXeYX2JnttYjc3SAhcpo/s1600/panza02.jpg" width="266" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Solimar Otero & Kimberly Ramirez</span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">"Prologue" from <i>The Panza Monologues,</i></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">ATHE 2014, dir. by Jason Ramirez</span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">There was spirit of resistance among the participants of ATHE 2014, a type of resistance which I haven't felt in any other year of my long time attending the conference. Arizona - because of its embittered status - had inspired people, encouraged them to act on their indignation. It was in this spirit of resistance that the conference organizing committee curated a
very special slate of performances to which they invited a staged reading of <i>The Panza Monologues. </i></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Programmers Karen Jean Martinson, Jason Bisping, and Patricia
Herrera (all theater profes) curated and organized an epic staged reading event entitled:<span style="mso-spacerun: yes;"> </span>“Intimate Acts: Banned Play Readings,” as
part of the conference’s performance offerings. The event featured “selected cuts” of four
plays. As this dynamic trio of curators
and caretakers put it:</span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="text-align: justify;">"The de facto banning of novels and plays from the Tucson Unified School District in 2012 marks the continuous struggle to define 'America' through acts that divide and silence. 'Intimate Acts' offers a space to connect, reflect, and speak out through the reading of work at the edges of 'acceptability.' Through the shared reading of excerpts from the plays of Amiri Baraka, Cherríe Moraga, Luis Valdez, Virginia Grise and Irma Mayorga, among others, we offer an intimate gathering space for making meaning collectively."</span><span style="text-align: justify;"> </span></span></blockquote>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Now, although <i>The Panza Monologues</i> is, of course, very dear to me in any performance incarnation, I was simply too busy to help put up this staged reading event for ATHE 2014,
as I told the curatorial committee when they contacted me. "No problem," they said with generous understanding. Instead, they turned to ATHE's very talented pool of profes (many of whom are professional theater artists) to stage the reading. This meant that when I arrived to my seat at the reading
event, I had no idea what would occur. I had entered a brand new phase of my relationship with <i>The Panza Monologues: that of spectator.</i><span style="font-size: x-small;"><o:p></o:p></span></span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrxIQXVE1oqXe-XnlI1XTJnd3FeXyaBdGQf-jEl1t997gsGGDHvMJP4EQeVBw86m7EMHDLC1XkpAT-wKLi2j1eYhzZ-wL-4YwvUAwdWTtqVpQL78alGL-YRCF5WMSWlgNZIz5SBpkrduJi/s1600/panza04.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrxIQXVE1oqXe-XnlI1XTJnd3FeXyaBdGQf-jEl1t997gsGGDHvMJP4EQeVBw86m7EMHDLC1XkpAT-wKLi2j1eYhzZ-wL-4YwvUAwdWTtqVpQL78alGL-YRCF5WMSWlgNZIz5SBpkrduJi/s1600/panza04.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Patricia Herrera & Solimar Otero<br />in a staged reading of <i>The Panza Monologues,</i></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">ATHE 2014, </span><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">dir. by Jason Ramirez</span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Because I’ve directed the play with Virginia for so long now, I've grown used to <i>The Panza Monologues </i>looking a certain way, feeling a certain
way. I know its rhythms intimately and have a certain take on the material. Together Virginia and I have staged it in numerous venues with numerous changes over
the years. But, in the hands of a new set of theater artists, I never could have
imagined how startling and, indeed, necessary a new take on the piece could be. Talented and dedicated folks were taking care of <i>The Panza Monologues </i>with as much commitment and love as Virginia and I have always attempted to do. "A panza story is a sacred story."</span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">For this special performance event of "dangerous plays," <i style="mso-bidi-font-style: normal;">The Panza Monologues</i> went last in the evening’s series
of readings, and as<span style="mso-spacerun: yes;"> </span>a
friend of mine noted, the panza “brought down the house.”<span style="font-size: x-small;"><o:p></o:p></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcIaogVvV2jQacS9HGjgGvZYydf5ns5fWh3aGLSiWNPnBUbW8XtI70o5aNQo3JYLXJYF_HQZpJL9ZhJN15kE9mvc7tFgou_g5b-WeleDIk7WjTjxeFvx4vWRkb2GD7hQIx3p9YJSGNCOuf/s1600/panza07.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcIaogVvV2jQacS9HGjgGvZYydf5ns5fWh3aGLSiWNPnBUbW8XtI70o5aNQo3JYLXJYF_HQZpJL9ZhJN15kE9mvc7tFgou_g5b-WeleDIk7WjTjxeFvx4vWRkb2GD7hQIx3p9YJSGNCOuf/s1600/panza07.jpg" width="300" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Aaron C. Thomas performs<br />"Sucking it In" from </span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><i>The Panza Monologues, </i>ATHE 2014, <br />dir. by Jason Ramirez</span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Brilliant
NYC-based director/scholar/profe Jason Ramirez (who took up the task of staging <i>The Panza </i>for this reading) reconceived the work for a cast of four, thereby making the staging multi-voiced, sexed, and gendered. To make the piece playable for four actors, Jason also reimagined the texture of our text. This included reconceptualizing the piece’s “Prologue,” retuning "Historia" (que viva las chichis!), and the play's final section “Panza Girl Manifesto” so that these large pieces were spread among four voices/actors/identities.
The result was something I never could have imagined for our dear panza...the result was vibrant, poignant, and crackling with life.<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Jason also rethought how to stage the piece physically - how to maneuver it among four bodies. The
audience sat “in the round” or almost on all sides of a large, cleared playing
area. The actors placed four music stands in this clearing, roughly forming a
square in the circle of audience around them. The music stands faced inwards –
away from the audience, so that the actors <i>faced</i> <i>each other </i>across the “corners” of the
“square” they and their music stands made. When they embarked on a new monologue or part of the play, they rotated around the music stands, addressing the room from new locations. </span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><br /></span>
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">After entering the playing area at the top of the staged reading, the actors/profes - Patricia Herrera,
Solimar Otero, Kimberly Ramirez, and Aaron C. Thomas - tossed the “Prologue”
between them and across the space, filling it with their telling, weaving their voices and the “Prologue's’” thoughts among them.
The multivocality of this new staging was captivating. And, having the presence of a male voice in the thoughts that are addressed in the "Prologue's" ideas proved deeply affecting and illuminating. "Men" from all points of the gender
spectrum have always articulated their identifications with <i>The Panza Monologues</i> to
Virginia and I throughout this past decade but to see an identifiably male body participate in helping to voice the call of <i>The Panza Monologues’</i> “Prologue” aloud...truly revelatory.</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfaxOYulybHGKYV_ABxY8nQb2xhJg84GWi94BdrFEdkhiwR9UbM6V0OiSB-2YJvmzOlaZB1A9xxi6LQT6nSYpH8P31rpQaTeWC5aZncqJ6EfwJbvWBkDHFUTGClbBsSyMC942yDrFP0U8/s1600/panza09.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><span style="font-family: "verdana" , sans-serif;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTfaxOYulybHGKYV_ABxY8nQb2xhJg84GWi94BdrFEdkhiwR9UbM6V0OiSB-2YJvmzOlaZB1A9xxi6LQT6nSYpH8P31rpQaTeWC5aZncqJ6EfwJbvWBkDHFUTGClbBsSyMC942yDrFP0U8/s1600/panza09.jpg" width="400" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Kimberly Ramirez performs "Political Panza" </span><br />
<span style="font-size: xx-small;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">from <i>The Panza Monologues, </i></span><span style="font-family: "verdana" , sans-serif;">ATHE 2014, </span></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">dir. by Jason Ramirez</span></td></tr>
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Patricia,
Solimar, Kimberly, and Aaron were simply brilliant. I took the photos that are spread here throughout this post, which capture just a glimmer of the energy from the reading. But at a certain point, I simply stopped taking photos and just sat on the edge of my seat listening to the piece, to the other audience members in the room also listening intently, laughing, like them, in recognition and empathy. The staged reading reduced me to amazement, filled me with humility. </span><br />
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<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Although they had committed to the performance, and prepared for the reading in their homes, these four actor/profes plus Jason their director did not rehearse together until they hit the ground in Arizona, about two days before their performance, which made their staging all the more incredible and also displayed the depth of their abilities. Solimar Otero offered a stirring
rendition of “Praying” that scored the anguish of domestic abuse into those assembled. Patricia Herrera (also a playwright) and Solimar
offered a loving rendition of "Panza to Panza" that split the piece between their two voices. Aaron C. Thomas wound his way through a hilarious version of
“Sucking it In,” even with his svelte body.<span style="mso-spacerun: yes;"> Likewise, f</span>laca Kimberly Ramirez rallied us all with her reading of “Political
Panza,” shouting to the room and to the State of Arizona that we all needed “panza positive policies, now!”</span><br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwY0AMkxIHwoazDN_jUesWgxkeILBVo4QD2bfEb9EmlxyRenlXbc0x3N-S2f-0YcjOaIY9a1LgQIDg1T67ywMUWb6gWwk9ik_SLfDCqQ2hmEUpu1UYJJu8ZitDZTl5tTSeVYOA4PPVSACz/s1600/panza10.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwY0AMkxIHwoazDN_jUesWgxkeILBVo4QD2bfEb9EmlxyRenlXbc0x3N-S2f-0YcjOaIY9a1LgQIDg1T67ywMUWb6gWwk9ik_SLfDCqQ2hmEUpu1UYJJu8ZitDZTl5tTSeVYOA4PPVSACz/s1600/panza10.jpg" width="293" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Solimar Otero & Aaron C. Thomas, </span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">"Panza Girl Manifesto" <br />from <i>The Panza Monologues, </i></span><br />
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;">ATHE 2014, dir. by Jason Ramirez</span></td></tr>
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<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">As I sat watching this innovative staging, my thoughts couldn't help but recall the history of <i>The Panza Monologues </i>and its singular journey. My thoughts flew to Virginia, who I wished was there with me to see what our <i>Panza</i> was put in motion to do by the people performing it anew in front of me. And, yes, after the event someone came up - as people always do - and asked if they could do the <i>Panza</i> too. Yes, I said. Yes, I'd love to see the <i>Panza </i>done again and again with this much care and urgency for its future manifestations, for the future audiences who need its stories. </span></span></div>
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<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><br /></span></span></div>
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<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">And I thought, she doesn't need us anymore, not really. She's a book. She's a DVD. She's something far beyond Virginia and myself, which is what we always intended. </span></span></div>
<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><br /></span></span>
<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">What she needs <i>is you!</i></span></span><br />
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<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><br /></span></span>
<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Good wishes and advice on staging <i>The Panza Monologues</i> or hosting a Panza Party in your community can be found in our new book <i>T<a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">he Panza Monologues, Second Edition.</a></i></span></span><br />
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<span style="background: white; color: #333333;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">*</span></span></div>
<span style="font-family: "verdana" , sans-serif; font-size: xx-small;"><span style="text-align: justify;">"</span><span style="background-color: white; color: #37404e; line-height: 20px; text-align: justify;">Some Like it Hot - South Texas Panza Monologues Book Tour"</span></span><br />
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<ul>
<li><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">August 25th - Brownsville at the Musuem of Fine Art, 1-3pm</span></li>
<li><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">August 25th - Paragraphs Bookstore in South Padre Island, 7pm</span></li>
<li><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">August 26th - McAllen for a private Panza Party</span></li>
<li><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">August 27th - UTPA Library Auditorium, 6pm </span></li>
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<span class="text_exposed_show" style="display: inline;"><span style="font-family: "verdana" , sans-serif; font-size: xx-small;">Know anyone in these cities? Tell them to come show us their panzas! South Texas Raza don't let us down!</span></span></div>
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<span style="background: white; color: #333333;"><span class="userContentSecondary fcg" style="color: #9197a3; font-family: "helvetica" , "arial" , "lucida grande" , "tahoma" , "verdana" , "arial" , sans-serif; font-size: 13.63636302947998px; line-height: 20px;"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i style="font-weight: normal;">Each and every time we learn of a teacher, activist,
scholar, artist, professor, organizer, coordinator, or facilitator who is or has
used </i><span style="font-weight: normal;">The Panza Monologues</span><i style="font-weight: normal;"> as a teaching tool, we are extremely gratified and
thankful. Our second edition of the play in publication was specifically conceived of and designed to help
facilitate its use in classrooms of all kinds. We included numerous kinds of
materials to accompany the script in order to inspire its use as a wide reaching teaching tool. <o:p></o:p></i></span></div>
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<span style="font-family: "verdana" , sans-serif;"><i style="font-weight: normal;">So, for the summer, we begin a series on our blog - "Pedagogy of the Panza" - celebrating and profiling teachers and their innovative instruction using </i><span style="font-weight: normal;">The Panza Monologues, Second
Edition.</span><i style="font-weight: normal;"> Over the next few months we will feature posts that showcase important,
determined, and ingenious teachers of all kinds who are taking our work to the
next level of its manifestation. Are you using </i><span style="font-weight: normal;">The Panza Monologues, Second
Edition </span><i style="font-weight: normal;">in your classroom? We’d love to hear your story – contact us! <a href="mailto:panzapower@gmail.com">panzapower@gmail.com</a><o:p></o:p></i></span></div>
<!--EndFragment--></h4>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></h4>
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<span style="font-family: "verdana" , sans-serif;">Name:</span><span style="font-family: "verdana" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;">Irene Mata</span></h4>
<h4>
<span style="font-family: "verdana" , sans-serif;">Hometown:</span><span style="font-family: "verdana" , sans-serif;"> </span><span style="font-family: "verdana" , sans-serif;">El Paso/Juarez (currently living in Wellesley, MA)</span></h4>
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<span style="font-family: "verdana" , sans-serif;"><i><b>Where do you teach? What’s
your home department?</b></i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Wellesley College in the Women’s and Gender Studies Dept.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>What class did you use </i>The
Panza Monologues<i> in? </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">WGST 218—Stage Left: Chican@/Latin@ Theatre and Performance<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;"><b><i>Why did you choose to teach
</i>The Panza Monologues<i> in your class? </i></b><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Putting together a coherent syllabus that includes the
diversity of theatre and performance in the Chican@/Latin@ community is a
daunting task, and I chose to teach texts I believed encompass the complexities
of this community. I decided to include <i>The Panza Monologues </i>because the text
engages with multiple issues affecting the Chican@ community through the
important lens of intersectionality. As a queer Chicana professor, the
construction of identity and the intersecting role that race, gender,
sexuality, class, and accessibility play in that construction is always at the center
of my teaching. While the performance piece deals specifically with Chicana
bodies, the stories of the panza go beyond any one group, and I knew students
would be able to engage with the text regardless of their own background. Students
at Wellesley are very familiar with, and quite critical of, <i style="mso-bidi-font-style: normal;">The Vagina Monologues,</i> and I wanted to
introduce them to an example of a performance piece that more responsibly
represents the voices of women. <i>The Panza Monologues</i> entertains but also
educates an audience without appropriating the stories of the women whose lives
the characters are drawn upon. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b><i>How did you teach </i>The Panza
Monologues<i> (can you offer any fun or meaningful activities or panza teaching tools you want
to share)?</i></b><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">I chose to teach <i style="mso-bidi-font-style: normal;">The
Panza Monologues </i>at the end of the semester in order to help students bring
together the multiple aspects of identity formation we had been discussing
throughout the class. The performance piece focuses attention on the multiple
structures of oppression that affect how we see and treat out bodies. The
specificity of the panza as a site of analysis helped students think critically
about how our bodies are constructed beyond the individual. We had an amazing
discussion of body politics that intersected with a larger discussion of structural
violence, including poverty and food justice. <o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Unlike traditional scripts, <i style="mso-bidi-font-style: normal;">The Panza Monologues</i> provided a rich set of texts to widen the
discussion of the performance piece. Students loved reading the script and had
much to say about it. Having access to secondary material included in the text,
especially the narrative history of the play’s development, allowed students to
understand the creative process involved in the production. We were able to
discuss the script but also how the larger themes analyzed in the secondary
materials were represented in the performance. The book as a whole provides a
powerful example of a feminist praxis of creating activist art. Our college
library also purchased the video of <i style="mso-bidi-font-style: normal;">The
Panza Monologues</i>, which gave me yet another pedagogical tool in teaching
the performance piece. Students watched the recording after reading the script
and wrote responses on how watching Virginia perform the monologues added to
their initial reading and understanding of the piece.<o:p></o:p></span></div>
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<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i><b>Why is it important to your
field of study? What conversations/</b></i></span><i style="font-family: Verdana, sans-serif;"><b>issues did the book raise?</b></i></div>
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKl994_R9hzaDWeFEzdzvRyGnXZqEcmJ2GupKG75cWduW8383LkGFlonGbQmH95GFAAotUTolVt2ijfvjjBWlm8bwUkdmt6ilTn0AuY7H1jpArx4vaCout9V-T1oZmo_INeHVEBGCFCQec/s1600/Irene+Mata_panza+reading.JPG" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKl994_R9hzaDWeFEzdzvRyGnXZqEcmJ2GupKG75cWduW8383LkGFlonGbQmH95GFAAotUTolVt2ijfvjjBWlm8bwUkdmt6ilTn0AuY7H1jpArx4vaCout9V-T1oZmo_INeHVEBGCFCQec/s1600/Irene+Mata_panza+reading.JPG" width="296" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "verdana" , sans-serif;">Dr. Irene Mata (with Inigo Montoya) <br />reading <i>The Panza Monologues, <br />Second Edition</i></span></td></tr>
</tbody></table>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i style="mso-bidi-font-style: normal;">The Panza Monologues</i>
invites its readers to think critically about how our ideas of our bodies are
constructed through ideologies of worth and beauty. The performance piece roots
its discussion of this construction in its analysis of multiple systems of
oppression, including the medical establishment and a patriarchal structure
that perpetuates violence against women. The book encourages a discussion of
larger structural inequality through its emphasis on the <i style="mso-bidi-font-style: normal;">panza</i> and the role of the <i style="mso-bidi-font-style: normal;">panza</i>
in the construction of womanhood.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b><i>What did you learn from
teaching </i>The Panza Monologues?</b></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b></b><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Unfortunately, teaching <i style="mso-bidi-font-style: normal;">The
Panza Monologues</i> has made me aware of how much young people continue to
struggle with their body image and the continued role that race and culture
play in that struggle. I learned to use the book as a tool, as a
counter-narrative to the very loud and destructive message young people receive
about their panzas and marginalized communities. Brilliant students surround me, and I often forget that students, regardless of their level of intelligence,
continue to battle external messages that dictate what constitutes beauty and worth.
I feel, however, that teaching <i style="mso-bidi-font-style: normal;">The Panza
Monologues</i> gives me an opportunity to intervene in their internalization of
dominant ideologies of beauty and offers me the chance to talk back to
ideologies that position our culture as deficient or lacking.<span style="mso-spacerun: yes;"> </span>The performance piece has helped me teach
students about our bodies, our culture, and love in our community in a way that
challenges the medicalization of our bodies. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><b><i>Favorite quote from </i>The
Panza Monologues Book?</b><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">“Now someone’s panza story is a sacred story, and to share
it with someone else is to tell them about the condition of your life” (42).<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><i><b>Finally - any new news? Or things/reflections you
would like to share re: Panza? Or about your recent accomplishments?!</b></i><o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">I loved teaching <i style="mso-bidi-font-style: normal;">The
Panza Monologues Book</i>! It was a powerful educational experience for my students
and myself, and I can’t wait to teach it next year!</span><o:p></o:p></div>
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<i style="font-family: Verdana, sans-serif;">Read more about Dr. Irene Mata <a href="http://www.wellesley.edu/wgst/faculty/mata" target="_blank">HERE.</a></i></div>
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<span style="font-family: "verdana" , sans-serif;">N.B. from Irma & Virginia: we are very, very proud to note that Dr. Mata recently received tenure at Wellesley - <i>ajua!</i></span><br />
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<span style="font-family: "verdana" , sans-serif;"><i>Do you have a "Pedagogy of the Panza" story to share? Let us know! <a href="mailto:panzapower@gmail.com">panzapower@gmail.com</a></i></span></div>
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The Panza Monologueshttp://www.blogger.com/profile/14723733674332463662noreply@blogger.com1tag:blogger.com,1999:blog-2933103845993959787.post-48173867465233393832014-06-24T09:51:00.001-04:002014-06-24T09:51:33.182-04:00The Panza in Perryville Women’s Prison: Part two of a two part series on The Panza Monologues in Arizona<h4>
<span style="font-family: Verdana, sans-serif;"><i>Note: This is the second post of a two part series on Virginia Grise's trip to Arizona this past spring where she had the opportunity to present on </i>The Panza Monologues, <i>work with ASU's Humanities Behind the Wall program, and interact with women, students, and community members of all kinds. Read part one of the series <a href="http://panzamonologues.blogspot.com/2014/06/the-panza-is-political.html" target="_blank">HERE</a>.</i></span></h4>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;"><br /></span><span style="font-family: Verdana, sans-serif;">Goodyear, Arizona</span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Reflections from Virginia:</span><br />
<span style="font-family: Verdana, sans-serif;">In 1998, I worked with a
local arts organization in Austin, Texas to implement a series of writing
workshops both at the high school where I taught and in the juvenile detention
center. In this program, I met a twelve-year-old who was functionally
illiterate. One of the poets and my mentor, <a href="https://www.youtube.com/watch?v=Cvir4jUjBNM">Raul Salinas</a>, asked me to work with him
one-on-one. For two weeks, I would listen as he told me the story he wanted to
tell, transcribed the words he dictated to me each day. Every night, the
young man returned to his cell, paper tucked in the waistband of his pants. With the help of his cellmate, he would
memorize the words on the page before returning to class the next day. At the end of the program, he performed
his story with the rest of the students. The night before the reading he asked
me “What about you Miss? What story are you gonna to tell tomorrow?” Without thinking I responded, "I'm not a writer." Raul calmly walked up behind me and under his breath said, "You better go home and write yourself a poem, sister." And I did. My very first public performance was in the
juvenile correction system in Austin, Texas. </span><br />
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">I return to that memory often. It is an important moment in my genealogy. I revisit it whenever I feel a little lost - uncertain about my work and myself. When I can't figure it out alone, sometimes Raul appears to me in dreams, calmly redirecting me, "Don't be late to the discipline committee meeting, sister." And somehow I know exactly what he means. </span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">I was an activist turned artist and now I'm an artist trying to find my way back to the activism that shaped my early years of political development. As an artist, prisons (both literal and metaphorical) are a recurring trope in my work. I</span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"> can't write about prisons without an analysis of the state, without imagining freedom and without fighting for liberation. </span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Since 1998, I have taught numerous poetry classes in the juvenile correction system not only in Austin but in San Antonio and Los Angeles and have also taught women who are incarcerated in California but I find Humanities Behind the Walls run out of Arizona State University to be a particularly exciting model for inside/out programs. </span><br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxkLCeZjtNEes-wyOntwKX6kLWeD2OAVy20F9kV6GCMR9xkmo9uOZNIULMvrbb0WxYNyN9Uwfj7cUGY_s_GOw' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<span style="color: #434343; font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="color: black;"><b>What is Humanities Behind the Walls?</b></span></span><br />
<span style="color: #434343; font-family: Verdana, sans-serif; mso-bidi-font-family: Helvetica; mso-bidi-font-size: 14.0pt;"><span class="Apple-style-span" style="color: black;"> </span>“Humanities
Behind the Walls draws on a genealogy of situated and subjugated knowledges
that have emerged from behind prison walls to provide an opportunity for
faculty and students to critically engage the humanistic and humanizing
potential inherent in acts of reading and discussing literature, poetry, and
drama with people incarcerated at Perryville Women’s Prison, and with formerly
incarcerated people at Arizona State University.”<o:p></o:p></span></div>
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<span style="font-family: Verdana, sans-serif;"><b>The Panza in Perryville</b></span><br />
<span style="font-family: Verdana, sans-serif;">Perryville Women's Prison (1 of 13 prisons in AZ) is off of I-10 in the small town of Goodyear, about 20 miles west of Phoenix. We drove there just as the sun was setting and you can not help but be seduced by the beauty of the landscape - forgetting for a moment that the desert can be a hostile place. Goodyear after all is in Maricopa County, home of <a href="http://www.msnbc.com/msnbc/immigrant-rights-advocates-sue-maricopa-county-sheriff-joe-arpaio">Sheriff Joe Arpaio</a>. <span class="Apple-style-span" style="font-family: Verdana, sans-serif;"> </span></span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></span>
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;">As we drive down the long road leading to Perryville, my body begins to tighten. The road gives way to steel gates and barbed wire, four units that make up The Perryville Complex, housing over 2,000 people behind bars. I've never been to Perryville and yet this is a familiar drive. The drive to the prison parking lot reminds me of similar drives I've taken <b><span class="Apple-style-span" style="font-weight: normal;">to visit family and loved ones in</span></b> state prisons and county jails across the Southwest - tucked away, off an exit that seems to lead to nowhere. </span></b></span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></span>
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;">The experience however is quite different. When you are visiting friends and family there is a way that many guards treat you as somehow guilty of a crime by association. It makes me paranoid, mentally going through the checklist of everything I can and can not do (no open toed shoes, sleeveless shirts, no paper, no keys) because I do not want my visitation denied. This time I am able to walk into the prison with a handful of books. </span></b></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;">I brought signed copies of both <i><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues</a></i> and <i><a href="http://yalepress.yale.edu/yupbooks/book.asp?isbn=9780300169225">blu</a> </i>with me for the prison library as well as a copy of <a href="http://ecosocialisthorizons.com/2014/02/truth-and-dare-a-comic-book-curriculum-for-the-end-the-beginning-of-the-world/">Truth and Dare: A Comic Book Curriculum for The End and The Beginning of the World</a>. </span></b></span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></span>
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;">We walk in with ease after our IDs are checked by the guards but my body is still tight as I mentally go through the list (that I don't need this time) but I can't help it </span></b></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;">(no open toed shoes, sleeveless shirts, no paper, no keys)</span></b></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;">, body tight, barely breathing. I don't think I actually begin to breath until we are introduced to two women on the inside (incarcerated at Perryville) that have been helping to facilitate the program. They invite us into a room and go over the agenda for the day.</span></b></span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><b><span class="Apple-style-span" style="font-weight: normal;"><br /></span></b></span>
<span style="font-family: Verdana, sans-serif;">Humanities Behind the Walls offered four different classes in Perryville, including a class on mothering and the concept of family, current issues, critical analysis, and theatre and performance. The Panza Monologues was used in the theatre and performance class and </span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">I was invited to the final class of the spring semester where</span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">the women from all the classes presented their work to each other. One
group of women even wrote their own Panza Monologue, read in three voices...<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
<blockquote class="tr_bq">
<span style="font-family: Verdana, sans-serif;">I am trying to
get rid of my panza and I couldn’t give a reason as to why</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">God
created my panza beautiful and gave it to my mother and my father.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">I’ve
never had a flat panza, it’s always had a little hump.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">I have it stuck
in my head that I need to maintain a small weight. And yes, my arms are skinny
and my legs appear skinny and I’m sure, to a lot of people, my panza seems
non-existent.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">In
turn the doctor cut the umbilical cord separating mine and my mother’s panzas.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">I
like to think I have grown out of being ashamed of my panza not being flat!
But what woman ever does?</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">But I don’t see
it that way myself.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">The
feeling of loss.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">Hell!
The comparison started so young and so long ago. I suspect no matter
how old or how wise I get – it will always be in the back of my mind.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">In my image of
myself, I see it as protruding out over my pants or shorts. I see my panza as
growing instead of shrinking.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">My
panza grew and the world abused my panza with their greed and lust and want for
more – not treasuring the panza.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">Wait
a minute – look at that bitch’s panza. We’re the same age and her shit
is still flat…looking like a black Barbie.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">Yes, I know I
may not see things quite the way others do --- but how to get past it?</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">So
I did not learn the power of the panza until I learned to treasure the creation
of the
panza.</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">Stop
this shit “keybee” – stop complaining about it and do something about
it. Hell no!! Naw – I paid for this panza. Why get rid of it?</span></blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">After all, big is in this year!</span></blockquote>
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<span style="font-family: Verdana, sans-serif;">***<o:p></o:p></span><br />
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<span style="font-family: Verdana, sans-serif;">After the women presented their work, I read excerpts from <i><a href="http://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues</a></i> and <a href="http://yalepress.yale.edu/yupbooks/book.asp?isbn=9780300169225"><i>blu</i></a>. My reading was open to not only the women in the classes but to the entire yard.</span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"> </span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">As I performed, I was reminded of what
it means to share our stories with each other, the power of storytelling and
its potential danger. Some of the stories I read about queer desire
and love could have been seen as “contraband” for example. I closed with a reading fom blu and asked the women - what do you dream? <span style="mso-spacerun: yes;"> </span></span><br />
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><br /></span>
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span style="mso-spacerun: yes;"></span></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;">I believe in</span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"> </span></span><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><span class="Apple-style-span" style="font-family: Verdana, sans-serif;"><a href="http://www.historyisaweapon.com/defcon1/davisinterview.html">prison abolition</a> and in the on-going work of Humanities Behind the Walls to create spaces of freedom in the most unlikely places. </span></span><br />
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<span style="font-family: Verdana, sans-serif; mso-spacerun: yes;">***</span><br />
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<h4 style="text-align: justify;">
<span style="font-family: Verdana, sans-serif;">If you are interested in hosting a <i>Panza Monologues </i>book reading or workshop in your community contact us at <a href="mailto:panzapower@gmail.com">panzapower@gmail.com</a></span></h4>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-7817810600284460212014-06-11T00:13:00.000-04:002015-01-17T17:53:51.168-05:00The Panza is Political!: A two part series on The Panza Monologues in Phoenix, Arizona<!--StartFragment-->
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<h4>
<span style="font-family: Verdana, sans-serif;"><i>Note: This is the first post of a two part series on Virginia Grise's trip to Arizona this past spring where she had the opportunity to present on </i>The Panza Monologues, <i>work with ASU's Humanities Behind the Walls program, and interact with women, students, and community members of all kinds. Read part two of the series, The Panza in Perryville Prison <a href="http://panzamonologues.blogspot.com/2014/06/the-panza-in-perryville-womens-prison.html" target="_blank">HERE</a>.</i></span></h4>
<span style="font-family: Verdana, sans-serif;"><br /></span>
<span style="font-family: Verdana, sans-serif;">Phoenix, AZ</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8sxjCtJqwdKphDK3xOEggt-dZtu1av0bUnLzrDxGi-y30k2bsQ2Z4jCd2Hf7W_SfY1YWB5FlFhd6Py-WBGEYcR3xiV4gg3pfZ1kIWF7yAjwy9z7vEUVPY091aGRIg7WDVMCqEm8T2p2R/s1600/1621934_609036979177391_1744473981_n.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_8sxjCtJqwdKphDK3xOEggt-dZtu1av0bUnLzrDxGi-y30k2bsQ2Z4jCd2Hf7W_SfY1YWB5FlFhd6Py-WBGEYcR3xiV4gg3pfZ1kIWF7yAjwy9z7vEUVPY091aGRIg7WDVMCqEm8T2p2R/s1600/1621934_609036979177391_1744473981_n.png" height="400" width="306" /></span></a><span style="font-family: Verdana, sans-serif;">Despite
recent legislation, Phoenix has always been a home for our panzas. One of our
earliest performances of <i>The Panza Monologues</i> was in 2004 as part of the Teatro
Caliente Festival. We were invited by Ramon Rivera-Servera and the Performance in the Borderlands Initiative at Arizona State University to showcase the work right before our
premiere production in Austin, TX. Read
Karen Jean Martinson’s review of that performance in <i>Theatre Journal</i> <a href="http://www.scribd.com/doc/113329428/Theatre-Journal-Review-of-the-Panza-Monologues">HERE</a>. </span></div>
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<span style="font-family: Verdana, sans-serif;">We
are deeply inspired by the artistic community in Phoenix in part because of
their strong political commitments. <span style="mso-spacerun: yes;"> </span>They are fighting the good fight with conviction and extreme
creativity. Since our trip in 2004, Virginia has continued to work in Phoenix
with the organization Humanities Behind the Walls. Humanities Behind the Walls
[HBW] is a collaborative inside/out “reading and
research project that centers learning and ways of knowing grounded in
experience and reflection about surviving incarceration.” Virginia recently
visited Arizona for a week-long residency with HBW. While there, she gave a lecture at Arizona State
University entitled "From Panzas to Prisons: Pedagogy, Social Justice and the
Humanities," focusing on the relationship between cultural workers, social
transformation, and social movements. She also performed at a fundraiser event for
HBW, Embodied Justice, at the Herberger Theatre along with DJ Spiritchild from
New York, she facilitated a writing workshop on writing [auto]geographies, and she visited the women’s prison at Perryville, AZ where she read from <a href="http://utpress.utexas.edu/index.php/books/gripan"><i>The Panza Monologues</i></a> and her award-winning play <i><a href="http://www.virginiagrise.com/blu" target="_blank">blu</a>. </i></span><br />
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span>
<span style="font-family: Verdana, sans-serif;"><i>Listen to Virginia's interview with Steve Goldstein on Phoenix Public Radio station KJZZ <a href="http://kjzz.org/content/23548/panza-monologues-goes-beyond-physical" target="_blank">HERE</a>. </i></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwNwP61cRhQbtMPWBiCqDWTMfCrz-U-sTO_eSKNUS5bhfjHzglRJdDA5oHirXXHy2plNBO_LG9DcpOTIe4F0Fu2mJ7Xk8_BvtfY8mmvGU0ck5Osgu_xg2ZYSNXcW4wdK4xNDOUI6agowM1/s1600/Yovani+Flores.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span style="font-family: Verdana, sans-serif;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwNwP61cRhQbtMPWBiCqDWTMfCrz-U-sTO_eSKNUS5bhfjHzglRJdDA5oHirXXHy2plNBO_LG9DcpOTIe4F0Fu2mJ7Xk8_BvtfY8mmvGU0ck5Osgu_xg2ZYSNXcW4wdK4xNDOUI6agowM1/s1600/Yovani+Flores.jpg" height="320" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif; font-size: xx-small;">Yovani Flores from Mujeres de Sol </span><br />
<span style="font-family: Verdana, sans-serif; font-size: xx-small;">at the site of their community garden.</span></td></tr>
</tbody></table>
<span style="font-family: Verdana, sans-serif;">The
panza-palooza week had a ripple effect in the Phoenix art community. After Virginia’s
performance at the Herberger, the theatre will begin doing a monthly event curated
by Mary Stephens. This opening up of the established, mainstream theatre is
unprecedented in many ways. The director of the Herberger spoke to the
importance of events like <i>The Panza Monologues</i> because they create a public space
for civic dialogue, reminding him of the days when people would travel to hear revolutionary
activists like Stokely Carmichael speak. "Isn’t that what theatre is suppose to
be – a place where we can engage ideas and issues as a community?" he said. After
Virginia’s workshop on [auto]geographies, the women of Mujeres de Sol planted
a community garden and dedicated some of the plants to panza positivity. Virginia
and DJ Spiritchild are working on a new collaboration in New York, scheming on
new ways to bring their art and politics together in cultural events - stay tuned! Panza POWER is in full effect ya’ll! </span></div>
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<span style="font-family: Verdana, sans-serif;">Kyla Pasha on her panza and <i>The Panza Monologues:</i></span><br />
<span style="font-family: Verdana, sans-serif;"><i><br /></i></span>
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<span style="font-family: Verdana, sans-serif;"><b><i>The
Panza Monologues </i>Goes Beyond the Physical,</b></span></h3>
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<span style="font-family: Verdana, sans-serif;">from "Political Panza" in </span><i style="font-family: Verdana, sans-serif;">The Panza Monologues:</i></div>
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<span style="font-family: Verdana, sans-serif;">Sometimes I think I
was chosen not to have a panza. So that I would learn that there is a panza
inside my panza. And inside those panzas you can’t see - there
are little boys who will one day grow up to be men. If we raise them by what we
know to be true, they will love the panzas they came from, and they will
bow down to the panzas they are now destroying for golf courses and
petroleum wars.</span></blockquote>
<blockquote>
</blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">You see, this
is why I am in solidarity with my panza-sisters because the panza
is political. If we asked how the panza was for all the citizens of a
given society, we might not have hunger for our children or our elders. If we
asked how the panza was for a woman with child, we might have quality
pre-natal care for all expectant mothers. If we asked, how is the panza?
Is it fed, is it warm? Is it nourished?
Was this panza living next to an electrical plant? A lead site? A
cancer cluster? Will it get the medicine needed for a healthy panza?</span></blockquote>
<blockquote>
</blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">Perhaps, if our
government instituted Panza Positive Policies we might have world peace
because we can see our humanity by the well being of all our panzas. So
don’t be afraid of what we have to do because we are the panza, and to
claim the panza is to be free, free, and it’s mine and yours, and we are
all panzitas in one big round panza, and she loves us very much.</span></blockquote>
<blockquote>
</blockquote>
<blockquote>
<span style="font-family: Verdana, sans-serif;">The panza is
political.</span></blockquote>
<span class="Apple-style-span" style="font-family: Verdana, sans-serif;">Read more <a href="http://thinkprogress.org/immigration/2014/06/08/3446282/migrant-children-surge/">HERE</a> about what even Obama called an "urgent humanitarian situation," thousands of unaccompained minors that were detained crossing the US-Mexico border, then transferred to a warehouse in Arizona. Please speak out about this and demand <a href="http://inst-homeland-security-alleges-abuse-of-immigrant-children/article_974b2aae-f177-11e3-8752-001a4bcf887a.html">Panza Positive Immigration Policies NOW</a>!</span><br />
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<b style="font-family: Verdana, sans-serif;">Why
is <i>The Panza Monologues</i> important in Phoenix?</b></h3>
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<span style="font-family: Verdana, sans-serif;"><i>"The Panza Monologues </i>was a watershed moment for Phoenix theatre-going
audiences. Virginia Grise and Irma Mayorga’s electrifying work puts a voice to
the politics of the body and the importance of alternative narratives to re-imagine
the borders in our lives. To see this performance in Phoenix, Arizona - a
mixture of humor, poignant personal narrative, and scathing political critique
of systems of oppression - gave me hope that another Arizona is possible! <i>The
Panza Monologues</i> carves out a personal space to have a public dialogue around
the body, race, gender, politics, and borders." - Mary Stephens, Producing
Director, ASU Performance in the Borderlands <o:p></o:p></span><br />
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<span style="font-family: Verdana, sans-serif;">Sara Suhail on the panza and Phoenix:</span><br />
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<span style="font-family: Verdana, sans-serif;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyR-6h-I7y7JDUwUfRJi5VubDcQsSeiIlSiVnm0TLtK_bS10Rq9XUk3UAPsU75HM-2GiuB_oNGgxcL2snsiNQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></span></div>
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<span style="font-family: Verdana, sans-serif;"><span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">"A panza movement is important for our Phoenix communities.
Phoenix is wide with food deserts, fast food, GMOs, and panzas of every shape
and size. Every(body) is quick to conceal it - even las flacas. It’s time
to come out of the shadows, time to hear <i>our</i> voices and see
the beauty of the panza. We adopted a public garden so we can all
break out of our panza closets, and start nurturing healthy panzas." </span>- Yovani Flores<span style="color: #1a1a1a; mso-bidi-font-family: Arial; mso-bidi-font-size: 13.0pt;">, </span>Co-Founder, Mujeres Del Sol </span><o:p></o:p><br />
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<span style="font-family: Verdana, sans-serif;">***</span><br />
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<h4>
<span style="font-family: Verdana, sans-serif;">If you are interested in hosting a <i>Panza Monologues </i>book reading or workshop in your community contact us at <a href="mailto:panzapower@gmail.com">panzapower@gmail.com</a> </span></h4>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-842157807715393542014-04-22T15:24:00.000-04:002016-07-11T09:48:41.730-04:00Love Your Body Featuring Florinda Bryant<span class="Apple-style-span" style="color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13px; line-height: 18px;"><span style="font-family: "verdana" , sans-serif;">Chicana Heavyweights & Their Allies, </span></span><span class="Apple-style-span" style="color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13px; line-height: 18px;"><span style="background-color: white;"><span style="font-family: "verdana" , sans-serif;">a Panza Pictorial of Panza Positive Women</span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 13px; line-height: 18px;"><span style="background-color: white; line-height: 18px;"><span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: "arial" , sans-serif; line-height: normal;"><br /></span></span></span></span>
<span class="Apple-style-span" style="color: #666666; font-size: 13px; line-height: 18px;"><span style="background-color: white; line-height: 18px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: "verdana" , sans-serif; line-height: normal;"></span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-size: 13px; line-height: 18px;"><span style="background-color: white; line-height: 18px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: "verdana" , sans-serif; line-height: normal;"></span></span></span>
<span class="Apple-style-span" style="color: #666666; font-size: 13px; line-height: 18px;"><span style="background-color: white; line-height: 18px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: "verdana" , sans-serif; line-height: normal;">Florinda Bryant is an interdisciplinary artist, director, and educator, last seen in the<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="color: magenta;"> </span></span><a href="http://www.rudemechs.com/index.htm"><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="color: magenta;">Rude Mechanicals</span></span></a>' - an Austin-based theater company - performance of <i>Fixing King John</i>. </span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-size: 13px; line-height: 18px;"><span style="background-color: white; line-height: 18px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: "verdana" , sans-serif; line-height: normal;"></span></span></span><br />
<span class="Apple-style-span" style="color: #666666; font-size: 13px; line-height: 18px;"><span style="background-color: white; line-height: 18px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-family: "verdana" , sans-serif; line-height: normal;"></span></span></span>
<span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="color: #666666; font-size: 13px; line-height: 18px;"><span style="background-color: white; line-height: 18px;"><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; line-height: normal;">She</span></span></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-size: 13px;"> recently performed excerpts of her ritual performance piece "From the porch" at the</span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-size: 13px;"> </span><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px;"><a href="https://www.loft.org/"><span class="Apple-style-span" style="color: magenta;">Loft Literary Center</span></a></span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-size: 13px;"> </span><span class="Apple-style-span" style="border-collapse: collapse; color: #222222; font-size: 13px;">in Minneapolis as part of their Equilibrium Series co-curated by Bao Phi and <i>The Panza Monologues'</i> own Virginia Grise. Florinda's performance work often engages audiences in explorations around questions of identity, community, and the body. </span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizyakyyRGi8b3aTYrWBDYQnZNQpm8wk68ZkCH-acohT-W4fClgk-WAsShMSf-5R2zmbPD1YA5Vdxi4uGBfaZ1nraL7wRDJrh6HflD2ayQxPn3600aZROtldo4mnrcc9Cx-4fchW56TbbmQ/s1600/55742_1525725115723_2790116_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizyakyyRGi8b3aTYrWBDYQnZNQpm8wk68ZkCH-acohT-W4fClgk-WAsShMSf-5R2zmbPD1YA5Vdxi4uGBfaZ1nraL7wRDJrh6HflD2ayQxPn3600aZROtldo4mnrcc9Cx-4fchW56TbbmQ/s1600/55742_1525725115723_2790116_o.jpg" width="240" /></a></div>
<span class="Apple-style-span" style="color: purple; font-family: "verdana" , sans-serif; font-size: x-large;"><span class="Apple-style-span" style="font-size: 19px;"><b><span class="Apple-style-span" style="color: #222222; font-family: "arial" , sans-serif; font-size: small;"><span class="Apple-style-span" style="border-collapse: collapse; font-size: 13px; font-weight: normal;"><br /></span></span></b></span></span>
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<h3>
<span style="color: purple; font-family: "verdana" , sans-serif;">Florinda Bryant</span><br /><span style="color: purple; font-family: "verdana" , sans-serif;">Austin, Texas</span></h3>
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<blockquote class="tr_bq">
<span style="font-family: "verdana" , sans-serif;">I am the laugh you were trying to swallow, all big and loud, at the moment you were tryin to be quiet. Yeah that's me.<br />I come from a long line of praying, shit talkers, divine sinners, survivors.</span><br />
<span style="font-family: "verdana" , sans-serif;">I believe we are magic, each of us, with the power to change ourselves thus the world.</span></blockquote>
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<span style="font-family: "verdana" , sans-serif;"></span><br />
<span style="font-family: "verdana" , sans-serif;"></span></div>
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<b><span style="font-family: "verdana" , sans-serif;">What do you love most about your body and why?</span></b></div>
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<span style="font-family: "verdana" , sans-serif;">I love my heart! I haven't always been kind to her, treated her so bad til she was swollen and hard. She still didn't give up on me, still there for me. My ride or die literally. She has had so many reasons to quit and she doesn't, she keeps going, beating and loving. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdP6iQnF9U1FJDmtAs_cI2Gwo2QJWqy57vvFTVHEGMmgVgVEfz5R7D-M6GMLqWflVVYhH9DNZjrhe34PkPdRag5zJMHlgIYVgt7MGfx2bupMO67Z5zSQiDD3Rpk0hHo9NkIzMJKwE0BTJH/s1600/IMG_0896.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdP6iQnF9U1FJDmtAs_cI2Gwo2QJWqy57vvFTVHEGMmgVgVEfz5R7D-M6GMLqWflVVYhH9DNZjrhe34PkPdRag5zJMHlgIYVgt7MGfx2bupMO67Z5zSQiDD3Rpk0hHo9NkIzMJKwE0BTJH/s1600/IMG_0896.JPG" width="299" /></a><b><span style="font-family: "verdana" , sans-serif;">One piece of panza positive advice you wish someone would have given you growing up...</span></b></div>
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<span style="font-family: "verdana" , sans-serif;">When I was younger I wish someone would have talked to me more about the beauty within. How the beauty within can change how you move through the world and THAT is what makes your outside beautiful. Don't just tell me to be confident, explain why.</span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
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<div>
<span style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="border-collapse: separate; color: #666666; line-height: 18px;"></span><b>What Panza Positive advice do you have to share?</b></span></div>
<div>
<span style="font-family: "verdana" , sans-serif;">Women are like fruit, there are many different kinds. No need to compare yourself to someone else. It's not that you aren't an amazing apple but maybe the woman next to you is an amazing orange. If someone is not appreciating your fruit, let that person go find another fruit to suit their taste. Take care of you and an apple lover will come along. </span></div>
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<span style="font-family: "verdana" , sans-serif;"><br /></span></div>
<div>
<span style="font-family: "verdana" , sans-serif;"><b>What is your favorite quote from </b><i><b>The Panza Monologues</b></i><b> book?</b></span></div>
<div>
<span style="font-family: "verdana" , sans-serif;">"...and from that day on, I knew the panza was the most important part of the body, because people lived inside the panza, including me," from "Inside the Panza."</span></div>
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"></span><br />
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<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"></span>
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<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif;">Read more about<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"> </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><a href="http://creativeaction.org/about-us/our-staff/"><span class="Apple-style-span" style="color: magenta;">Florinda Bryant</span></a></span></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">.</span></span></div>
<div style="text-align: left;">
<span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"></span>Her performance work is published in <a href="http://utpress.utexas.edu/index.php/books/jonexe"><span class="Apple-style-span" style="color: magenta;">Experiments in a Jazz Aesthetic</span></a>.</span></div>
<div style="text-align: left;">
<span style="font-family: "verdana" , sans-serif;">Buy your copy of <a href="https://utpress.utexas.edu/index.php/books/gripan"><span class="Apple-style-span" style="color: magenta;">The Panza Monologues</span></a> book.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDF8gYYM6d9G73I_dlbNVz2sR-M2NPzU91S4CLyi6_uoP3x0XwM1KSh4kGWYorXR-OiSS1vdJFf_3eVoQA9EE-NmBZmfKgVZe5EzlTvUKsZkxnSTNKPlG3VN0B1Fl5doGmNsFKRBuuR7lY/s1600/Flo1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDF8gYYM6d9G73I_dlbNVz2sR-M2NPzU91S4CLyi6_uoP3x0XwM1KSh4kGWYorXR-OiSS1vdJFf_3eVoQA9EE-NmBZmfKgVZe5EzlTvUKsZkxnSTNKPlG3VN0B1Fl5doGmNsFKRBuuR7lY/s1600/Flo1.jpg" width="320" /></a></div>
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Florinda Bryant & Virginia Grise</div>
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read at the Loft Literary Center in Minneapolis, MN.</div>
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<span style="font-family: Verdana, sans-serif;"><i>When I speak of the erotic, then I speak of it as an assertion of the life force of women; of that
creative energy empowered, the knowledge and use of </i><i>which we are now reclaiming
in our language, our history, our dancing, </i><i>our loving, our work, our lives.” </i><i>– Audre Lorde</i></span></blockquote>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Verdana, sans-serif;">The Panza Monologues at <a href="http://www.womenandchildrenfirst.com/store-information">Women & Children First Bookstore</a> in Chicago, IL.</span><br />
<span style="font-family: Verdana, sans-serif;">Spotted by Ama Birch.</span></td></tr>
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<span style="font-family: Verdana, sans-serif;">When I speak of the erotic, I think of C.C. Carter. I first met C.C. at <a href="http://allgo.org/allgo/" target="_blank">ALLGO</a> where she performed from her book <i><a href="http://books.google.com/books/about/Body_Language.html?id=2Ld0U_lQ0_gC" target="_blank">Body Language.</a> </i>I followed her, on the edge of my seat, around every curve, as she traced the Herstory of Her Hips. C.C. is a performer, educator, and community activist that works her "fierceness fully." She is the erotic, sensuality embodied, from the intimacy of her poetry to the ways in which she actively creates radical public spaces for the bulldagers, the dykes, for queer women of color. I always knew I could call on C.C. if I was in Chicago. For years, she organized a women's centered community space for poets weekly in the Southside of Chicago. She invited me once to perform from <i>The Panza Monologues</i> to a packed and raucous crowd at Lee's Unleaded Blues Joint. A cross-cultural conversation about the body over drinks flowing. I thought I need to translate - "This is the PANZA," I said, caressing my stomach. "These are chichis," I said grabbing my breasts. "And the chocha..." Before I could finish someone yelled from the crowd, "We all know what chocha means." Cuz there are some things that just don't need to be translated!</span><br />
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<span style="font-family: Verdana, sans-serif;"><b style="color: purple;">C.C. Carter</b></span></h3>
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<span style="font-family: Verdana, sans-serif;"><b><span style="color: purple;">Chicago, IL</span></b></span></h3>
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<span style="color: #1a1a1a; font-family: Verdana, sans-serif;">I am
fiercely curvy and brave.</span><span style="color: #1a1a1a; font-family: Verdana, sans-serif;"><br /></span><span style="color: #1a1a1a; font-family: Verdana, sans-serif;"> I come
from a long line of beautiful hottentot built women. </span><span style="color: #1a1a1a; font-family: Verdana, sans-serif;"><br /></span><span style="color: #1a1a1a; font-family: Verdana, sans-serif;">I believe that the body is a temple to be worshipped no matter the size, the shape, the color.</span></blockquote>
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<span style="color: #1a1a1a; font-family: Verdana, sans-serif;"><b>What do you love most about your body and why? </b></span><span style="color: #1a1a1a; font-family: Verdana, sans-serif;">My ass-et. I love how her hands slip in along the waist and push out as they trace down my hips and thighs or along the front of my panza.</span><br />
<span style="color: #1a1a1a; font-family: Verdana, sans-serif;"><br /></span><span style="font-family: Verdana, sans-serif;"><b style="color: #1a1a1a;">One piece of panza positive advice you wish someone would have given you when you were growing up…</b></span><span style="color: #1a1a1a; font-family: Verdana, sans-serif;">That the best feeling in the world is when your partner or your child lies on your panza and starts to rub it because of it's comfort and its familiarity of home (womb).</span><br />
<span style="color: #1a1a1a; font-family: Verdana, sans-serif;"><br /></span><span style="font-family: Verdana, sans-serif;"><span style="color: #1a1a1a;"><b>What do you call your panza?</b></span></span><br />
<span style="color: #1a1a1a; font-family: Verdana, sans-serif;">F.U.P.A. - A Fat Upper Pussy Area</span><br />
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<span style="color: purple; font-family: Verdana, sans-serif;"><b>About C.C. Carter</b></span><br />
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<span style="color: #1a1a1a; font-family: Verdana, sans-serif;">C.C. Carter earned her M.A. in Creative Writing from Queens College in New York. She received her B.A. in English Literature from Spellman College in Atlanta. In addition to her book Body Language (Kings Crossing Publishing), C.C. is also the author of a chapbook entitled, <i>Letters to My Love. </i>Check out C.C. performing <a href="https://www.youtube.com/watch?v=tl4COQKwRts" target="_blank">Herstory of my Hips</a> on an Olivia Cruise.</span><br />
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<span style="color: #1a1a1a; font-family: Verdana, sans-serif;"><a href="http://www.amazon.com/Body-Language-C-Carter/dp/0971448914" target="_blank">BUY</a> C.C.'s book <i><a href="http://www.amazon.com/Body-Language-C-Carter/dp/0971448914" target="_blank">Body Language</a></i></span><br />
<span style="color: #1a1a1a; font-family: Verdana, sans-serif;">Follow C.C. Carter on <a href="https://twitter.com/C_C_Carter" target="_blank">Twitter</a></span><br />
<span style="color: #1a1a1a; font-family: Verdana, sans-serif;"><a href="https://utpress.utexas.edu/index.php/books/gripan" target="_blank">BUY</a> your copy of <i><a href="https://utpress.utexas.edu/index.php/books/gripan" target="_blank">The Panza Monologues</a> </i>book</span><br />
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</span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2933103845993959787.post-52541323775779029802014-02-09T09:39:00.002-05:002015-01-17T17:56:48.633-05:00Panza Positive Pictorial: Featuring Vaneza Calderon<h3>
<b>Con un mensaje para ti...</b></h3>
Chicana Heavyweights and their Allies, a Panza Pictorial of Panza Positive Women<br />
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We have launched many critiques at mainstream media outlets for their lack of Panza Positivity. This month we are celebrating <b>Love your Body Month </b>by asking four women to create their own <b>Panza Positive Pictorial</b> by taking photographs of themselves that embrace their panzas cuz (as we say in <i><a href="http://utpress.utexas.edu/index.php/books/gripan">Panza Girl Manifesto</a></i>), <i>you gots to love the panza, you gots to love yourself!</i><br />
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A bad ass guitarron playing mariachi, Vaneza Calderon has some panza positive consejos to share with you!<br />
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<b><span style="color: purple;">SUNDAY</span></b></h3>
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Round and snug, so nice to hug! Happinez is: hugging con ganas! Squeeze! Give it your all! Just like life.</blockquote>
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<span style="color: purple;">MONDAY</span></h3>
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Cachetes, not machetes! Be confident of your unique beauty, imperfections and all!</div>
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<b><span style="color: purple;">TUESDAY</span></b></h3>
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Community can be vast. Be confident that only YOU shine in your own way! Own it.</blockquote>
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<b><span style="color: purple;">WEDNESDAY</span></b></h3>
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Panzitas come in all shapes and sizes. Embrace every single one of them!</blockquote>
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<b><span style="color: purple;">THURSDAY</span></b></h3>
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¡Arriba! Up, up! Create your own path of happiness and confidence!</blockquote>
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<b><span style="color: purple;">FRIDAY</span></b></h3>
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Create! Do what you want to do,¡Y ya! Don't ever let anyone define beauty for you. YOU ARE BEAUTIFUL!<br />
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<span style="color: purple;">SATURDAY</span></h3>
Spanish translation of Bob Marley's <i>Three Little Birds.</i><br />
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<b>About Neza:</b> These days, Neza can be found collaborating with various mariachis and bands in Los Angeles, Califas. When she is not playing an instrument, she is making their strings at <a href="https://www.facebook.com/pages/GUADALUPE-CUSTOM-STRINGS/136159083073043" target="_blank">Guadalupe Custom Strings.</a> It is a musician-run business that helps fellow musicians have the best strings possible, located in Boyle Heights. New music and handmade specialty air accessories to come, this spring! To learn more about Vaneza Calderon see her first feature on our <a href="http://panzamonologues.blogspot.com/2014/02/love-your-body-month-featuring-neza.html">BLOG</a>.<br />
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<b>Follow her:</b>
<a href="https://m.facebook.com/neza.cal">https://m.facebook.com/neza.cal</a><br />
<a href="https://utpress.utexas.edu/index.php/books/gripan"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">BUY</span></a><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;"> your copy of </span><a href="https://utpress.utexas.edu/index.php/books/gripan"><span class="Apple-style-span" style="font-family: Times, 'Times New Roman', serif;">The Panza Monologues book.</span></a><br />
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Photo credits: A. Grey, G. Morales, G. Tenorio, E. Juarez, P. Mendez<br />
Video credit: G. MoralesUnknownnoreply@blogger.com0