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The New World Border is a carnivalesque inversion of ethnic and geo-political ideology, a disorienting free-fall into the space between cultures and a head-on collision with the real and imagined borders that separate North and South. Hero of a thousand syncretic faces--intercultural interpreter, reverse anthropologist, experimental linguist and political artist of the first order--Guillermo Gómez-Peña has won international acclaim for his efforts to create a hybrid culture and to articulate a borderless ethos. In this new collection of essays, poems and performance texts, Gómez-Peña muses, often tongue-in-cheek, on matters of race, nationality, language and identity. With a heady mix of pop culture, provocative iconography, political satire, ethnic stereotypes and guerrilla theory, he explores "the territory of cultural misunderstanding." "In everything he does, he remains an indomitably playful phrasemaker; a fertile rethinker of cultural contradictions, clichés, and conundrums; and an inspiring recruiter for a playground army of cultural pluralists."--The Village Voice "Gómez-Peña invites the reader into uncharted territory: the vast, intercontinental border zone where people live between and across cultures and countries, creating a thoroughly hybrid society where the only cultural "others" are those who stubbornly resist "mestizaje".The New World Border is both wildly entertaining and thoughtfully incisive, inducing a kind of cultural vertigo that erases the borders between 'us' and 'them'.The New World Border is a required addition to all literary and multicultural studies collections!"--Midwest Book Review "Guillermo Gómez Peña is a clear example of the work that originates from and about the border. His work deals with borders, with their existence, construction, reconstruction, definition, and eventual questioning. In this context, the aim of this essay is to explore the way the artist puts into practice his conceptualization of the border reality in The New World Border: Prophecies for the End of the Century, which toured worldwide and in front of very diverse, international audiences."--Amaia Ibarraran Bigalondo,Journal of Contemporary Drama in English… (más)
Library Journal: Performance artist and self-proclaimed "reverse anthropologist," Gomez-Pena slashes and burns his way through the social jungle like a Latino Berzerker. Clear and energetic, he levels all, and I mean all, cultural dragons. He is not the first to observe that change in the late 20th century has been so enormous that the entire world, especially the United States, has plunged into a deep identity crisis, but unlike some social critics, he offers hope. First, he argues, we must recognize that no one is innocent. Then, only by accepting the inevitability of our innate hybridization will we find a healthy context for genuine growth. Taken from several projects, the author's poems and texts are astute, biting, and often painfully funny. Like any good trickster, he tries to awaken us by teaching how important it is to laugh at ourselves. Read at risk to your own complacency.
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
One of the great contributions of experimental art, especially performance, over the past ten years has been the development of models of intercultural collaboration, and I've been both a co-creator and a beneficiary of these models. Most of my ideas and my performance work exist thanks to, and in relation to the work of dozens of accomplices who have been willing to cross many dangerous borders with me. They have risked their skin, their identity, and their dignity to contribute to a deeper and more complex understanding among races, cultures, and generations. These *locos* and *locas* have accompanied me to the most unlikely places (from Montana to Helsinki, and from the Basque country to Buenos Aires, and many conceptual countries in between) and at times they have faced real physical and political danger with me. Among others, they are:
Lorena Wolffer, *la chida one* aka *la Mae West del Centro Historico*;
Richard Lou and Robert Sanchez, *los antropolocos*;
Andrea Suess;
Silvana Straw;
B. Stanley;
Michelle Parkerson;
Quique Aviles;
and of course, of coursisimo, my dearisima mother Martha, *la Reina de Cocoteros*;
and my beloved son Guillermo Emiliano, *el micro-brujo*;
my rockero nephews Ricardiaco and Carlitos;
and grandma Carmen and tios Ruben y Eugenio, who all chose recently to leave this mad planet in search of permanent peace.
This book is dedicated to all of them. They have given me so much slack, unconditional tenderness, and chile power. They are always patient with my fuck-ups, they protect me from my formidable enemies, and they take very good care of my fourteen different selves. They certainly know the meaning of living right on the border, and the importance of transcultural friendship and collaboration---perhaps the only keys out of the mess we have gotten into.
Querida clica, los adoro, los venero, con ustedes, hasta la fuckin' muerte.
P.S. I wish to thank Ana Teran for graciously correcting my pocho Spanish for the second edition.
Primeras palabras
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
I am a nomadic Mexican artist/writer in the process of Chicanization, which means I am slowly heading North.
Citas
Últimas palabras
Información procedente del conocimiento común inglés.Edita para encontrar en tu idioma.
The New World Border is a carnivalesque inversion of ethnic and geo-political ideology, a disorienting free-fall into the space between cultures and a head-on collision with the real and imagined borders that separate North and South. Hero of a thousand syncretic faces--intercultural interpreter, reverse anthropologist, experimental linguist and political artist of the first order--Guillermo Gómez-Peña has won international acclaim for his efforts to create a hybrid culture and to articulate a borderless ethos. In this new collection of essays, poems and performance texts, Gómez-Peña muses, often tongue-in-cheek, on matters of race, nationality, language and identity. With a heady mix of pop culture, provocative iconography, political satire, ethnic stereotypes and guerrilla theory, he explores "the territory of cultural misunderstanding." "In everything he does, he remains an indomitably playful phrasemaker; a fertile rethinker of cultural contradictions, clichés, and conundrums; and an inspiring recruiter for a playground army of cultural pluralists."--The Village Voice "Gómez-Peña invites the reader into uncharted territory: the vast, intercontinental border zone where people live between and across cultures and countries, creating a thoroughly hybrid society where the only cultural "others" are those who stubbornly resist "mestizaje".The New World Border is both wildly entertaining and thoughtfully incisive, inducing a kind of cultural vertigo that erases the borders between 'us' and 'them'.The New World Border is a required addition to all literary and multicultural studies collections!"--Midwest Book Review "Guillermo Gómez Peña is a clear example of the work that originates from and about the border. His work deals with borders, with their existence, construction, reconstruction, definition, and eventual questioning. In this context, the aim of this essay is to explore the way the artist puts into practice his conceptualization of the border reality in The New World Border: Prophecies for the End of the Century, which toured worldwide and in front of very diverse, international audiences."--Amaia Ibarraran Bigalondo,Journal of Contemporary Drama in English
mmckay | Jun 4, 2006 | 
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