Recent Essays

Cris Tengono talks about how, thanks to the pandemic, a virtual artistic world has begun to develop in Colombia—one of infinite possibilities and without borders, where nationalities do not matter—and shares some of the work that has come out of it.

Michelle Yemayá notes that while Colombian theatre artists have found ways to face the unexpected changes this year, artists are still struggling to stay afloat. She talks about how she has adapted her practice under the circumstances and shares the stories of three other artists living and working as artists in Colombia right now. / Michelle Yemayá ha notado que, si bien los artistas del teatro colombiano han encontrado formas de enfrentar los cambios inesperados de este año, la lucha por mantenerse a flote es constante. Habla sobre cómo ha adaptado su práctica a las circunstancias y comparte las historias de otras tres personas que en este momento viven y trabajan como artistas en Colombia.

In the intro article to the Colombia series, Carl(os) Roa, a Latinx artist from Philadelphia who made art in Bogotá last year, poses the question “What are the ways in which Colombia’s arts communities are just as fragmented as those in the United States” and shares how uplifting it has been to watch artists in the Bogotanx theatre community adapt to new realities brought on by the pandemic.

Amelia Parenteau examines the essential nature of both artists and medical workers—who heal body and soul, mind and spirit—and shares how some have navigated their career transitions between the two fields.

verity healey recaps the multidisciplinary arts festival Kunstfest, which took place in Weimar, Germany in late August and early September this year and tackled issues such as immigration, identity, COVID-19, and the environment.

Jennifer Rodrigo sits down in conversation with Sabera Shaik, the artistic director of Malaysia’s Masakini Theatre Company, about the country’s fragmented arts community, shadow theatre, and more.

Janice Rabian shares the discoveries she made during her summer research project about the effects of the COVID-19 pandemic on the theatre field and how leaders are pivoting after the murder of George Floyd.

Sayda Trujillo talks about white supremacy’s prevalence in clown pedagogy and shares how the invincible spirit of the clown has shaped her, “seeping through every tiny crack possible to make itself present to speak, to laugh, to sing, to bounce, to witness, and to encounter.”

L.M. Bogad shares the story of the beginnings of Clandestine Insurgent Rebel Clown Army, several tenets of “clownfrontational” tactics, examples of rebel clowning in a different contexts, and more.