Return to an Oral Tradition of Public Performance

Knowledge and performance are inextricably intertwined. All knowledge is communicated through performance of some means, whether staged, organic, live or textual. Necessarily then, the concept of public performance is similarly intermeshed with communal knowledge. Our collective heritage began with verbal, communal performances of knowledge and it appears that we are returning toward a similar disposition: communal performances of knowledge. What is yet to be seen is to what degree it will be verbal. With advances in telepresence technology, it is becoming an ever more imminent possibility.

The concept of an oral tradition is steeped in the interweaving of an individual’s knowledge and the community’s knowledge. The communal knowledge does not continue to exist if it is not performed and many such performances were by an individual. The communal knowledge persevered through the individual’s memory. Before written language, Continue reading “Return to an Oral Tradition of Public Performance”

60 Cycle Hum

Workshopped as a part of Fieldwork Houston and presented as a work in progress at the Spring 2010 Showcase, 60 Cycle Hum is the constant, unavoidable noise that is always present, but most persistent when you are quiet. It is all of those things that unceasingly run through your head, the thoughts that come to you when you are still and will not leave you alone, the thoughts that, like a bad house guest, arrive uninvited and outstay their welcome. Perhaps they are similar to wishes and that by saying them out loud, we can diminish their power. Perhaps at least we can discover we are not the only ones who hear it.


Presented as a part of Performance Studies international conference (PSi14) in Copenhagen, Denmark on August 23, 2008.

In PaperDoll, the artist will explore her own perpetual interregnum through a durational performance piece. The piece will explore the states between performer and audience, between creator and consumer, created and consumed. Between elected and imposed identities. Between nationalities and ethnicities. Between gender and social roles.

Taking inspiration from the visual art format of paper dolls that could be dressed up in any manner the user wished, the artist would similarly allow herself to be “dressed up” by the audience/participants. Starting from plain foundation garments, the artist will take her dress-up cues from paper dolls that the audience will be invited to dress up. They will be provided with paper
dolls representing the artist and paper clothing options representing clothing the artist has brought to dress up in. After a participant dresses up their doll, they may then offer it to the artist for her to recreate. Participants will be able to keep their paper doll kit.

See video from the performance here.