The Queer Nuyorican


Book Description

Finalist for The Barnard Hewitt Award for Outstanding Research in Theatre History, given by the American Society for Theatre Research. Silver Medal Winner of The Victor Villaseñor Best Latino Focused Non-Fiction Book Award, given by the International Latino Book Awards. Honorable Mention for the Best LGBTQ+ Themed Book, given by the International Latino Book Awards. A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City’s Lower East Side. Yet the space once hosted the likes of Victor Hernández Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet “Nuyorican,” as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term “Nuyorican” shifted from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe’s founding. Initially situated within the Cafe’s physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color—Miguel Piñero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker—whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.




The Queer Nuyorican


Book Description

A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City’s Lower East Side. Yet the space once hosted the likes of Victor Hernández Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet “Nuyorican,” as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term “Nuyorican” shifted from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe’s founding. Initially situated within the Cafe’s physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color—Miguel Piñero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker—whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.




The Queer Nuyorican


Book Description

A queer genealogy of the famous performance space and the nuyorican aesthetic One could easily overlook the Nuyorican Poets Cafe, a small, unassuming performance venue on New York City’s Lower East Side. Yet the space once hosted the likes of Victor Hernández Cruz, Allen Ginsberg, and Amiri Baraka and is widely credited as the homespace for the emergent nuyorican literary and aesthetic movement of the 1990s. Founded by a group of counterculturalist Puerto Rican immigrants and artists in the 1970s, the space slowly transformed the Puerto Rican ethnic and cultural associations of the epithet “Nuyorican,” as the Cafe developed into a central hub for an artistic movement encompassing queer, trans, and diasporic performance. The Queer Nuyorican is the first queer genealogy and critical study of the historical, political, and cultural conditions under which the term “Nuyorican” shifted from a raced/ethnic identity marker to “nuyorican,” an aesthetic practice. The nuyorican aesthetic recognizes and includes queer poets and performers of color whose writing and performance build upon the politics inherent in the Cafe’s founding. Initially situated within the Cafe’s physical space and countercultural discursive history, the nuyorican aesthetic extends beyond these gendered and ethnic boundaries, broadening the ethnic marker Nuyorican to include queer, trans, and diasporic performance modalities. Hip-hop studies, alongside critical race, queer, literary, and performance theories, are used to document the interventions made by queer and trans artists of color—Miguel Piñero, Regie Cabico, Glam Slam participants, and Ellison Glenn/Black Cracker—whose works demonstrate how the Nuyorican Poets Cafe has operated as a queer space since its founding. In focusing on artists who began their careers as spoken word artists and slam poets at the Cafe, The Queer Nuyorican examines queer modes of circulation that are tethered to the increasing visibility, commodification, and normalization of spoken word, slam poetry, and hip-hop theater in the United States and abroad.




Queer Globalizations


Book Description

The essays in this volume bring together scholars of postcolonial and lesbian and gay studies in order to examine, from multiple perspectives, the narratives that have sought to define globalization.




Selected Poems of Emanuel Xavier


Book Description

For the first time ever, a selected poetry collection from Emanuel Xavier, renowned LGBTQ poet and one of the Latinx community's treasures. When he first emerged as a Nuyorican Poets Café slam poet in the 1990s, Emanuel Xavier quickly took his place as one of the first openly queer, celebrated, controversial and significant poets of the era. Now, decades later, as a former homeless teen and a hate crime survivor, Xavier still stands as one of America's most inspiring and powerful voices. "Gay Nuyorican life is limned and exalted in these scintillating poems. Xavier, a fixture at Nuyorican Poets Cafe slams in Manhattan and a star of HBO's Russell Simmons Presents Def Poetry, gathers 28 poems that infuse searing social and political commentary into achingly personal reflections. Many paint a panorama of New York that is bustling and vibrant: 'Ricans and Dominicans drive around / with black-faced virgins and saints on their dashboards / blasting rap and freestyle / down the streets.' The poet's collection conveys his struggle as a gay man in an often homophobic culture in tones that range from the bruised confessional in 'Deliverance' ('Wiping / myself / staring at the blood / shit / scum / from the last trick / that once again / left me bruised / deep inside') to the prophetic voice of 'If Jesus Were Gay.' ('If the crown of thorns were placed on his head / to mock him as the / 'Queen of the Jews' / If he was whipped because fags are considered / sadomasochistic sodomites, / If he was crucified for the brotherhood of man / would you still repent?') There's a lot of pain from separation and repudiation in Xavier's verse-from his biological father's abandonment of the family, his mother's rejection of his gay sexuality, and America's disdain for Latino immigrants. The volume is thus full of poetic portraits of outsiders and castoffs that can take strange and hallucinatory forms, as in 'Bushwick Bohemia, ' where a slacker is 'lying shirtless on the couch blunted out of his mind / staring at the roach on the ceiling / one single roach in a vast desert / or maybe an alien exploring a new world'-a grungy, Kafkaesque yet somehow hopeful and even liberating tableau of arrival and persistence. And the poet's life generates bleak, bracing wisdom in 'Beside Myself' 'You are not going to be remembered. / The best thing you ever did was keep a cat / alive for over sixteen years. / All you have is that rent-stabilized apartment / with the cracked paint and broken windows.' Xavier's many fans (and newbies as well) will be entranced by his evocative language, subtle rhythms, and fearless gaze." - Kirkus Reviews (starred review)




Nuyorican Feminist Performance


Book Description

The Nuyorican Poets Café has for the past forty years provided a space for multicultural artistic expression and a platform for the articulation of Puerto Rican and black cultural politics. The Café’s performances—poetry, music, hip hop, comedy, and drama—have been studied in detail, but until now, little attention has been paid to the voices of its women artists. Through archival research and interview, Nuyorican Feminist Performance examines the contributions of 1970s and ’80s performeras and how they challenged the Café’s gender politics. It also looks at recent artists who have built on that foundation with hip hop performances that speak to contemporary audiences. The book spotlights the work of foundational artists such as Sandra María Esteves, Martita Morales, Luz Rodríguez, and Amina Muñoz, before turning to contemporary artists La Bruja, Mariposa, Aya de León, and Nilaja Sun, who infuse their poetry and solo pieces with both Nuyorican and hip hop aesthetics.




Translocas


Book Description

Translocas focuses on drag and transgender performance and activism in Puerto Rico and its diaspora. Arguing for its political potential, Lawrence La Fountain-Stokes explores the social and cultural disruptions caused by Latin American and Latinx “locas” (effeminate men, drag queens, transgender performers, and unruly women) and the various forms of violence to which queer individuals in Puerto Rico and the U.S. are subjected. This interdisciplinary, auto-ethnographic, queer-of-color performance studies book explores the lives and work of contemporary performers and activists including Sylvia Rivera, Nina Flowers, Freddie Mercado, Javier Cardona, Jorge Merced, Erika Lopez, Holly Woodlawn, Monica Beverly Hillz, Lady Catiria, and Barbra Herr; television programs such as RuPaul’s Drag Race; films such as Paris Is Burning, The Salt Mines, and Mala Mala; and literary works by authors such as Mayra Santos-Febres and Manuel Ramos Otero. Lawrence La Fountain-Stokes, a drag performer himself, demonstrates how each destabilizes (and sometimes reifies) dominant notions of gender and sexuality through drag and their embodied transgender expression. These performances provide a means to explore and critique issues of race, class, poverty, national identity, and migratory displacement while they posit a relationship between audiences and performers that has a ritual-like, communal dimension. The book also analyzes the murders of Jorge Steven López Mercado and Kevin Fret in Puerto Rico, and invites readers to challenge, question, and expand their knowledge about queer life, drag, trans performance, and Puerto Rican identity in the Caribbean and the diaspora. The author also pays careful attention to transgender experience, highlighting how trans activists and performers mold their bodies, promote social change, and create community in a context that oscillates between glamour and abjection.




The Queerness of Home


Book Description

"Stephen Vider considers how the meanings of domesticity shifted for gay men and lesbians from the late 1960s to early 1980s, from a site of supposed isolation or deviance, to a source of identity, community, and pleasure. His manuscript reveals the multiple uses, appeals, and limits of domesticity for LGBTQ people in the post-World War II period, in their efforts to make social and sexual connections, and to appeal for expanded rights and freedoms. For example, the 1970s witnessed an efflorescence of gay communal households that proved to be seedbeds for alternative modes of domesticity, using the privacy of domestic space to achieve broader social and political changes. Vider brings a novel perspective to gay identity and culture, examining domesticity as a meeting point between practices and discourse, the local and national, the private and the public"--




Super Stoked


Book Description

Capturing Fire is a celebration of international trans & queer spoken word poets led by Artist Director and the "Fairy Godmother of Spoken Word," Regie Cabico. Every year these poets gather to support each other, encourages allyship, risk-taking, and artistic growth through a series of rousing workshops and performances. For the first time, the diverse fiery voices of these poets have been collected on these pages. These are potent poems of love, loss, humor, anger, identity, struggling to find one's path and live one's truth. These words are stoked and ready to explode. Are you ready to feel the fire?




Fifty Key Figures in Queer US Theatre


Book Description

Whether creating Broadway musicals, experimental dramas, or outrageous comedies, the performers, directors, playwrights, designers, and producers profiled in this collection have contributed to the representation of LGBTQ lives and culture in a variety of theatrical venues, both within the queer community and across the US theatrical landscape. Moving from the era of the Stonewall Riots to today, notable scholars in the field bring a wide variety of queer theatre artists into conversation with each other, exploring connections and differences in race, gender, physical ability, national origin, class, generation, aesthetic modes, and political goals, creating a diverse and inclusive study of 50 years of queer theatre. For readers seeking an introduction to or a deeper understanding of LGBTQ theatre, this volume offers thought-provoking analyses of theatre-makers both celebrated and lesser-known, mainstream and subversive, canonical and new.