Nadia Garzón, founder and executive director of Descolonizarte Teatro in Orlando, Florida, prioritizes a decolonial arts practice by uplifting Latinx, queer, and immigrant voices. Nadia releases the Western-centric ideals that dominate the theatre and uses an ensemble leadership style with empathy at the core of her work.
How can researchers design processes that center communities? How can a national research team center local partner communities, make data collection valuable and enjoyable, and then return findings quickly in useful ways? For the National Research and Impact Team for One Nation/One Project, the answer lays in values-based, creative research strategies.
How do you insist on hope in the face of crisis? Can Miami restructure itself to avoid climate peril? And what might anti-Zionist Jewish theatre look like? Playwright Talia Rodriguez considers these questions and more in this essay on her play Pitbull’s Party at the End.
As universities put more emphasis on collaboration, inclusion, and student buy-in, theatre departments address these issues in their season planning and casting. In this episode, Dr. Colleen Rua, interim associate director and assistant professor of theatre, dives deep into the practices that the School of Theatre and Dance the University of Florida has put in place in order to create a more equitable planning and casting process.
Exploring the Dialectical Possibilities for "Re-Ritualizing" Theatre and “Re-Theatricalizing” Everyday Life in the Twenty-First Century
Saturday 15 October 2022
New Orleans, Louisiana
Imagining America and Open Channels presented Open Channels and the Caribbean Roots of Theatre for Social Change livestreaming on the global, commons-based, peer-produced HowlRound TV network at howlround.tv on Saturday 15 October 2022 at 11:30 a.m. PDT (San Francisco, UTC -7) / 1:30 p.m. CDT (New Orleans, CDMX, UTC -5) / 2:30 p.m. EDT (New York, Havana, UTC -4).
Theatre Communications Group presented their 2019 National Conference livestreamed from Miami, Florida on the global, commons-based peer produced HowlRound TV network at howlround.tv from Tuesday 4 June to Saturday 8 June 2019.
A Greek Tragedy Reimagined as a Latin-Disco Variety Show—Miami Dade College Live Arts
Thursday 25 October to Saturday 27 October 2018
Miami, Florida, USA
Miami Dade College Live Arts presented La Medea—a Greek Tragedy Reimagined as a Latin-Disco Variety Show—by Yara Travieso livestreamed on the global, commons-based peer produced HowlRound TV network at howlround.tv Thursday 25 October, Friday 26 October, and Saturday 27 October 2018 at 8 p.m. EDT (New York) / 7 p.m. CDT (Chicago) / 5 p.m. PDT (Los Angeles).
Rachael Carnes discusses organizing Playwrights Say Never Again to School Shootings, a new anthology of work on gun violence by nineteen playwrights with readings all over the United States.
Anthony Dvarskas discusses the process of researching and creating America is Hard to See, a documentary theatre piece detailing the lives of a small community of sex offenders, and the town that had to adjust to their new neighbors.
Creating Self-Advocating Artists Starts in the Classroom
26 February 2018
Elizabeth Horn reflects on how in the aftermath of #MeToo, it is more important than ever to teach the next generation of theatremakers ideas of consent, respect, and how to advocate for themselves as artists.
Art2Action, Americans for the Arts, and the University of South Florida (USF) presented an Artist Plenary at the National Initiative for Arts & Health in the Military (NIAHM), 4th National Summit livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv Friday 3 February at 1:00 p.m. EST (New York) / 12:o0 p.m. CST (Chicago) / 10:00 a.m. PST (Los Angeles).
Blair Baker, Zac Kline, and Caridad Svich discuss how they decided to take action and mobilize artists to create theatre pieces after the Pulse Nightclub shooting.
City Theatre in Miami presented CityWrights: The 6th Annual Professional Weekend for Playwrights livestreamed on the global, commons-based peer-produced HowlRound TV network on howlround.tv Friday 24 June. Share your thoughts on Twitter with #howlround.
Miami Light Project presented Here & Now: 2016—a presentation of contemporary performance in Miami, Florida livestreamed on the global, commons-based peer-produced HowlRound TV network at howlround.tv on Wednesday 11 May at 5 p.m. EDT (New York) / 4 p.m. CDT (Chicago) / 2 p.m. PDT (Los Angeles). In Twitter, use #howlround.
MDC Live Arts presents Conscience Under Fire livestreaming on the commons-based peer produced HowlRound TV network at howlround.tv on Friday, September 11 at 8pm EDT (New York) / 7pm CDT (Chicago) / 5pm PDT (Los Angeles). In Twitter follow @mdclivearts and @howlroundtv and use #liveat25 and #mdclivearts.
Dance/USA—the national association for professional dance—presented the Opening Plenary of the Dance/USA 2015 Annual Conference in Miami livestreamed on the commons-based peer produced HowlRound TV network at howlround.tv on Thursday 18 June at 7:30 a.m. PDT (Los Angeles) / 9:30 a.m. CDT (Chicago) / 10:30 a.m. EDT (New York) / 14:30 GMT / 15:30 BST (London).
Jennifer Sokolove talks about funding work around climate change, and how organizations can reimagine granting to support work at the intersection of art activism.
Despite profound decentering from its source, Cuban theater has had a consistent representation in Miami. Mirrored by a repertoire of embodied theatrical practices, Cuban theater constitutes an important system of knowing and transmitting knowledge about Cuban culture. Using its own positioning, these epistemologies, in conjunction with actor’s training have gone unrecognized; yet, they have survived expatriation in the midst of divergent perspectives on both how to perform theater as knowledge, as well as how to generate knowledge through theater. Sainetes (or one- act farces), musical comedies, zarzuelas, and serious dramas in particular, are the fabric of this historically and culturally specific communicative process. Overall, the retention of the art form and the formation and maturity of Miami’s exiled actors has depended on the Cuban modern theater performed in exile.
