Astrid hadad gay
La Noche Del Cisne: Mexico City's Secret Cabaret
In February 2020, I was in Mexico Capital tasked with writing a roundup of shows. I ran around town, trying to see everything I could in just a few days. One of the outlier exhibitions that I enjoyed the most was in an artist’s studio near Bosque de Chapultepec: PJ Rountree’s ‘SET: memoria puesta una escena’ (SET: Staging Memory). Rountree had greeted me and walked me through a dimly lit room fitted out with a disco ball, colourful lights, ivory plastic chairs and tables set with green tablecloths. The exhibition also featured a suite of Rountree’s photographs: documents of the cabaret shows that took place in this unassuming venue between 2017 and 2019. These events were staged under the banner ‘La Noche Del Cisne’ (The Night of the Swan) and organized by Rountree and fellow painter Pia Camil, the studio’s former occupant. ‘Cisne’ invited artists, dancers, performers, kingly queens, writers and musicians to activate the cosmos, bringing together a collective of creatives in a safe and supportive environment. frieze, with the tireless help of Rountree (and drawing on his exhaustive photographic archive of past performances), has col
Costantino, Roselyn and Scott, Lorna. "Selected Lyrics and Monologue Fragments". Holy Terrors: Latin American Women Perform, edited by Diana Taylor and Roselyn Costantino, Fresh York, USA: Duke University Press, 2003, pp. 181-186. https://doi.org/10.1515/9780822385325-013
Costantino, R. & Scott, L. (2003). Selected Lyrics and Monologue Fragments. In D. Taylor & R. Costantino (Ed.), Holy Terrors: Latin American Women Perform (pp. 181-186). Brand-new York, USA: Duke University Press. https://doi.org/10.1515/9780822385325-013
Costantino, R. and Scott, L. 2003. Selected Lyrics and Monologue Fragments. In: Taylor, D. and Costantino, R. ed. Holy Terrors: Latin American Women Perform. New York, USA: Duke University Compress, pp. 181-186. https://doi.org/10.1515/9780822385325-013
Costantino, Roselyn and Scott, Lorna. "Selected Lyrics and Monologue Fragments" In Holy Terrors: Latin American Women Perform edited by Diana Taylor and Roselyn Costantino, 181-186. New York, USA: Duke University Press, 2003. https://doi.org/10.1515/9780822385325-013
Costantino R, Scott L. Selected Lyrics and Monologue Fragments. In: Taylor D, Costantino R (ed.) Holy Terrors: Latin American Women Perform Politics and Customs in a Diva´s Diversion: Ni contigo ni sintigotienen mis males remedio. Contigo porque me matas. Sintigo porque me muero. es sólo producto de nuestra imaginación. Astrid Hadad, of Lebanese heritage, (1957) was born and raised in Chetumal in the southern Mexican state of Quintana Roo (bordering the Yucatán, Guatemala, Belize, and the Caribbean). She, thus, is a product of and experienced first hand the heterogeneous, hybrid, nature of Mexican culture. Laughingly she admits, “I don´t know if I´m Maya, Lebanese, Mexican or Gringa!”(PI)[1] not a exceptional confusion, so to speak, in a country which is characterized by its "multitemporal heterogeneity," that is, by the coexistence of a number of communities and symbolic systems[2]. Out of Hadad´s meditations on the multiplicity of influences shaping her and other Mexican´s sense of themselves, and on the violence implicity in that process, emerge performances featuring a fast-paced, fragmented, parodic unveiling of traditional Mexican tune, dress, and move . Hadad avails herself of the humorous sociopolitical criticism of cabaret, carpa, and teatro de revista[3]--important theatrical styles in Mexican cultural history. Into these marg
Politics and Culture in a Diva´s Diversion
The Body of Astrid Hadad in Performance
Roselyn Costantino
Ni contigo ni sintigo tienen mis males remedio.
Contigo porque me matas. Sintigo porque me muero.
Surrealismo: Movimiento político mexicano,
carente de toda moral, ética y estética,
que intenta convencernos de que la realidad que vivimos
es sólo producto de nuestra imaginación.
Astrid Hadad, of Lebanese heritage, (1957) was born and raised in Chetumal in the southern Mexican declare of Quintana Roo. She is a product of the heterogeneous, hybrid, innateness of Mexican culture. Laughingly she admits, I don´t know if I´m Maya, Lebanese, Mexican or Gringa!(PI) not a rare confusion, so to speak, in a country which , according to Néstor García Canclini, is characterized by its "multitemporal heterogeneity," that is, by the coexistence of a number of communities and symbolic systems . Out of Hadad´s meditations on the multiplicity of influences shaping her and other Mexican´s meaning of themselves, and on the violence implicit in that process, emerge performances featuring a fast-paced, fragmented, parodic unveiling of tradit