Through writing, performance and direction my aim is to use a full spectrum of approaches in creating new work within an interdisciplinary process. My work is text based, in fusion with physical and ritualistic stage elements as well as visual-media, choreography, sound and stagecraft. Butoh Dance, Theatre of the Oppressed, applied theatre and social movements have shaped my aesthetic and philosophical approaches; as well as Laban, Grotowski, Biomechanics and Suzuki Training. I strive to create original pieces with arts-collaborators, material that is provocative, multi-dimensional, startling and challenging.
In my practice of theatre, I seek to create an alchemy of the body, space, spirit, language and political exchange; to tear down the hierarchy of institutional power that affects artists in the professional theatre making process and how it limits our connection to audiences.
As an arts facilitator to youth and incarcerated women, I am moved and inspired to create work about women, their history and to amplify a voice for their futures. My art programs promote personal growth, develops life skills through art-making and self- expression. I am particularly dedicated to working with vulnerable communities who lack access to arts platforms; in combination with trained artists and advocates in order for marginalized voices to gain visibility.
As a writer and director, I focus on two main areas: new works that dramatize histories and rituals from throughout Latin America; and works that tell forgotten but essential stories of women in history. I use theater to reclaim lost voices and unheard histories as motors for political and social action.
With each play I write, collaboration arises with a community, advocacy organizations and scholars; societal engagement that cultivates spaces for progress.
I write and perform solo and ensemble theatre pieces, which explore the influence of myth and history on modern female sexuality and social power. (DOES THAT FEEL GOOD TO YOU MY LARK?, PORNING THE PLANET- The De- Sensitization of a Nation, SEVENTEEN DAYS.) Part of my ongoing process is to perform/ participate at social- political conferences and events. Women’s Playwriting International Conference Stockholm, Sweden and Rome, Italy for World Theatre Day at the Performing Gender and Violence in Contemporary National and Transnational Contexts Conference: international panel event on violence against women and how it is reflected in my work.
When developing text-based narratives, I introduce movement, visual media, sound and sacralized ritualistic objects. My work deals with cultural identity, gender inequality and sexual violence, colonialism and economic injustice, globalization, and the rights of indigenous peoples – all themes directly related to promoting diversity and social justice. With the intersection of these elements, it is the intention to create a spiritual, political and communal practice, for individual and collective exchange.
These themes live in the LATIN IS AMERICA a bi-lingual play cycle and lecture performance, where I have written several plays in dedication to countries and dependencies in Latin America. In these plays, I connect ancient rituals that have been stifled by imperialism and link them to modern-day cultural rituals- practice through field work, scholarly research and festivals. My objective is to create models and dialogues that decolonize events, language and histories in the United States and Latin America by examining the continuing impact of colonialism on individuals across the continent.
(LA PALOMA PRISONER) The Zipa people beautifying the body to honor indigenous Colombian Gods becomes a beauty pageant for incarcerated women today.
(LA NEGRA) A Mexican Drug Goddess transforms into La Santa Muerte.
(CAFÉ) Tracing five generations of women on a Guatemalan coffee farm.
(THE HOPEFULNESS or LA ESPERANZA) Dominican sex workers box themselves as cargo to conquer the Old World.
(AZAMEMNO) The MS-13 Gang in El Salvador are the new Lenca legends, an Agamemnon war cycle continues.
(EL ODIO DE UN PAIS- The Hate of a Country) Rape culture becomes personal Costa Rican mythology.
(THE RIVER’S EDGE) A pair of young twins attempt to survive the 1937 Haitian Massacre.
I am continually exploring how art can serve as a tool for social change, a methodology of building theatre that disrupts while opening hearts and minds to propel change. Work that includes programs with Latinx immigrant youth/adults, with a focus on forum plays and interactive audience participation.
As the artistic director of La Lucha Arts, I am dedicated to producing new works, in contribution for transformational arts participation between audiences and artists. (Community Partner Collaboration selections: Pen America, Close Rikers Campaign, Steps to End Family Violence, Brooklyn DA’s Re-entry task force and The United Nations).
As I look to a future where my work is continuing to aid organizations, movements, and individuals towards creating a platform for marginalized – abandoned narratives and people.
Latin is America statement HERE